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   1 <html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Feito com Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets Vsnapshot"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="pt_BR" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Feito com Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
   2     Este livro é publicado sob uma licença CC BY-SA, o que significa que você
   3 pode copiar, redistribuir, remixar, transformar e desenvolver o conteúdo
   4 para qualquer finalidade, mesmo comercialmente, desde que você dê o crédito
   5 apropriado, forneça um link para o licença e indicar se foram feitas
   6 alterações. Se você remixar, transformar ou desenvolver o material, deverá
   7 distribuir suas contribuições sob a mesma licença do original. Detalhes da
   8 licença: <a class="ulink" href="https://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR" target="_top">https://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR</a>
   9   </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>Não sei muito sobre jornalismo de não ficção... A maneira que penso sobre
  10 essas coisas e em termos do que posso fazer é... ensaios como esse são
  11 ocasiões para observar alguém razoavelmente brilhante, mas também
  12 razoavelmente mediano, prestar mais atenção e pensar muito mais longamente
  13 sobre todos os tipos de coisas diferentes do que a maioria de nós tem chance
  14 de fazer em nossas vidas diárias.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
  15     \textit{  David Foster Wallace }
  16     \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Prefácio</a></span></dt><dt><span class="preface"><a href="#introduction">Introdução</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. O Quadro Geral</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. O Novo Mundo dos Comuns Digitais</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Como ser Feito com Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Lista de Figuras</b></p><dl><dt>1.1. <a href="#fig-1">Engajamento empresarial com comuns, estado e mercado.</a></dt><dt>1.2. <a href="#fig-2">Quatro aspectos da gestão de recursos</a></dt><dt>1.3. <a href="#fig-3">Como o mercado, os bens comuns e o estado geram recursos.</a></dt><dt>1.4. <a href="#fig-4">Na sociedade pré-industrializada.</a></dt><dt>1.5. <a href="#fig-5">O comum é gradualmente substituído pelo Estado.</a></dt><dt>1.6. <a href="#fig-6">Como o mercado, o estado e os comuns são hoje.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Prefácio</h1></div></div></div><p>
  17     Três anos atrás, logo depois de ser contratado como CEO da Creative Commons,
  18 me encontrei com Cory Doctorow no bar do Gladstone Hotel, em Toronto. Como
  19 um dos proponentes mais conhecidos da CC – alguém que também teve uma
  20 carreira de sucesso como escritor que compartilha seu trabalho usando CC –
  21 eu disse a ele que achava que a CC tinha um papel na definição e promoção de
  22 modelos de negócios abertos. Ele discordou gentilmente e considerou a busca
  23 de modelos de negócios viáveis por meio da CC <span class="quote">“<span class="quote">uma pista
  24 falsa</span>”</span>.
  25   </p><p>
  26     Ele estava, de certa forma, completamente correto – aqueles que fazem coisas
  27 com Creative Commons têm segundas intenções, como Paul Stacey explica neste
  28 livro: <span class="quote">“<span class="quote">Independentemente do status legal, todos eles têm uma missão
  29 social. Sua principal razão de ser é tornar o mundo um lugar melhor, sem
  30 fins lucrativos. O dinheiro é um meio para um fim social, não o fim em
  31 si.</span>”</span>
  32   </p><p>
  33     No estudo de caso sobre Cory Doctorow, Sarah Hinchliff Pearson cita as
  34 palavras de Cory em seu livro <span class="emphasis"><em>Information Doesn’t Want to Be
  35 Free</em></span>: <span class="quote">“<span class="quote">Entrar nas artes porque você quer ficar rico é como
  36 comprar bilhetes de loteria porque você quer ficar rico. Pode funcionar, mas
  37 quase certamente não. Embora, é claro, alguém sempre ganhe na
  38 loteria.</span>”</span>
  39   </p><p>
  40     Hoje, o direito autoral é como um bilhete de loteria – todo mundo tem um e
  41 quase ninguém ganha. O que eles não dizem é que, se você decidir
  42 compartilhar seu trabalho, o retorno pode ser significativo e
  43 duradouro. Este livro está repleto de histórias de pessoas que assumem
  44 riscos muito maiores do que os dois dólares que pagamos por um bilhete de
  45 loteria e, em vez disso, colhem as recompensas que advêm de perseguir suas
  46 paixões e viver seus valores.
  47   </p><p>
  48     Portanto, não se trata de dinheiro. Também: é. Encontrar os meios para
  49 continuar a criar e compartilhar geralmente requer alguma receita. Max
  50 Temkin, da Cards Against Humanity, diz isso melhor em seu estudo de caso:
  51 <span class="quote">“<span class="quote">Não fazemos piadas e jogos para ganhar dinheiro – ganhamos dinheiro
  52 para que possamos fazer mais piadas e jogos.</span>”</span>
  53   </p><p>
  54     O foco da Creative Commons é construir um commons vibrante e utilizável,
  55 movido pela colaboração e gratidão. Capacitar comunidades de colaboração
  56 está no centro de nossa estratégia. Com isso em mente, a Creative Commons
  57 iniciou o projeto deste livro. Liderado por Paul e Sarah, o projeto teve
  58 como objetivo definir e promover os melhores modelos de negócios
  59 abertos. Paul e Sarah eram os autores ideais para escrever Feito com
  60 Creative Commons.
  61   </p><p>
  62     Paul sonha com um futuro onde novos modelos de criatividade e inovação
  63 superem a desigualdade e a escassez que hoje definem as piores partes do
  64 capitalismo. Ele é movido pelo poder das conexões humanas entre comunidades
  65 de criadores. Ele tem uma visão mais ampla do que a maioria, e isso o tornou
  66 um melhor educador, um pesquisador perspicaz e também um jardineiro
  67 habilidoso. Ele tem uma voz calma e fria que transmite uma paixão que
  68 inspira seus colegas e a comunidade.
  69   </p><p>
  70     Sarah é o melhor tipo de advogada – uma verdadeira defensora que acredita no
  71 bem das pessoas e no poder dos atos coletivos para mudar o mundo. Durante o
  72 ano passado, vi Sarah lutar contra a mágoa que vem por investir tanto em uma
  73 campanha política que não terminou como ela esperava. Hoje, ela está mais
  74 determinada do que nunca a viver com seus valores na manga. Sempre posso
  75 contar com Sarah para empurrar a Creative Commons para focar em nosso
  76 impacto – para tornar a coisa principal a coisa principal. Ela é prática,
  77 orientada para os detalhes e inteligente. Não há ninguém na minha equipe com
  78 quem eu goste mais de debater.
  79   </p><p>
  80     Como co-autores, Paul e Sarah se complementam perfeitamente. Eles
  81 pesquisaram, analisaram, discutiram e trabalharam em equipe, às vezes juntos
  82 e às vezes de forma independente. Eles mergulharam na pesquisa e na escrita
  83 com paixão e curiosidade, e um profundo respeito pelo que é necessário para
  84 construir o bem comum e compartilhar com o mundo. Eles permaneceram abertos
  85 a novas ideias, incluindo a possibilidade de que suas teorias iniciais
  86 precisassem ser aprimoradas ou pudessem estar completamente erradas. Isso é
  87 corajoso e tornou-se um livro melhor, perspicaz, honesto e útil.
  88   </p><p>
  89     Desde o início, a CC quis desenvolver este projeto com os princípios e
  90 valores da colaboração aberta. O livro foi financiado, desenvolvido,
  91 pesquisado e escrito abertamente. Ele está sendo compartilhado abertamente
  92 sob uma licença CC BY-SA para qualquer pessoa usar, remixar ou adaptar com
  93 atribuição. É, por si só, um exemplo de modelo de negócio aberto.
  94   </p><p>
  95     Por 31 dias em agosto de 2015, Sarah decidiu organizar e executar uma
  96 campanha Kickstarter para gerar o financiamento básico para o livro. O
  97 restante foi fornecido por generosos doadores e apoiadores do CC. No final,
  98 tornou-se um dos projetos de livro de maior sucesso no Kickstarter,
  99 superando dois objetivos extensos e envolvendo mais de 1.600 doadores – a
 100 maioria deles novos apoiadores da Creative Commons.
 101   </p><p>
 102     Paul e Sarah trabalharam abertamente durante todo o projeto, publicando os
 103 planos, rascunhos, estudos de caso e análises, desde o início e com
 104 frequência, e envolveram comunidades em todo o mundo para ajudar a escrever
 105 este livro. Como suas opiniões divergiram e seus interesses entraram em
 106 foco, eles dividiram suas vozes e decidiram mantê-los separados no produto
 107 final. Trabalhar dessa maneira requer humildade e autoconfiança e, sem
 108 dúvida, tornou o Feito com Creative Commons um projeto melhor.
 109   </p><p>
 110     Aqueles que trabalham e compartilham dos bens comuns não são criadores
 111 típicos. Eles são parte de algo maior do que eles próprios, e o que eles
 112 oferecem a todos nós é um dom profundo. O que eles recebem em troca é
 113 gratidão e uma comunidade.
 114   </p><p>
 115     Jonathan Mann, cujo perfil é apresentado neste livro, escreve uma música por
 116 dia. Quando eu pedi a ele para escrever uma música para o nosso Kickstarter
 117 (e se oferecer como um benefício do Kickstarter), ele concordou
 118 imediatamente. Por que ele concordaria em fazer isso? Porque o commons tem a
 119 colaboração em seu núcleo, e a comunidade como um valor chave, e porque as
 120 licenças CC ajudaram muitos a compartilhar as formas que escolheram com um
 121 público global.
 122   </p><p>
 123     Sarah escreve, <span class="quote">“<span class="quote">Os esforços feitos com Creative Commons prosperam
 124 quando a comunidade é construída em torno do que eles fazem. Isso pode
 125 significar uma comunidade colaborando para criar algo novo, ou pode ser
 126 simplesmente um grupo de pessoas com ideias semelhantes que se conhecem e se
 127 unem em torno de interesses ou crenças comuns. Até certo ponto, simplesmente
 128 ser feito com Creative Commons traz automaticamente consigo algum elemento
 129 de comunidade, ajudando a conectá-lo a outras pessoas que reconhecem e são
 130 atraídas para os valores simbolizados pelo uso de CC</span>”</span>. Amanda Palmer,
 131 a outra música perfilada no livro, certamente acrescentaria isso de seu
 132 estudo de caso: <span class="quote">“<span class="quote">Não há objetivo final mais satisfatório do que ter
 133 alguém lhe dizendo que o que você faz é genuinamente valioso para
 134 eles.</span>”</span>
 135   </p><p>
 136     Este não é um livro de negócios típico. Para quem procura uma receita ou um
 137 roteiro, pode ficar desapontado. Mas para aqueles que buscam um objetivo
 138 social, construir algo grande por meio da colaboração ou se juntar a uma
 139 comunidade global poderosa e crescente, eles certamente ficarão
 140 satisfeitos. Feito com Creative Commons oferece um conjunto de valores e
 141 princípios claramente articulados para mudar o mundo, algumas ferramentas
 142 essenciais para explorar suas próprias oportunidades de negócios e duas
 143 dezenas de doses de pura inspiração.
 144   </p><p>
 145     Em um artigo de 1996 da Stanford Law Review <span class="quote">“<span class="quote">The Zones of
 146 Cyberspace</span>”</span>, o fundador do CC Lawrence Lessig escreveu, <span class="quote">“<span class="quote">O
 147 ciberespaço é um lugar. Pessoas moram lá. Elas experimentam todos os tipos
 148 de coisas que experimentam no espaço real, ali. Para alguns, elas
 149 experimentam mais. Elas vivenciam isso não como indivíduos isolados, jogando
 150 algum jogo de computador de alta tecnologia; elas experimentam isso em
 151 grupos, em comunidades, entre estranhos, entre pessoas que eles conhecem e
 152 às vezes gostam. </span>”</span>
 153   </p><p>
 154     Estou extremamente orgulhoso de que a Creative Commons seja capaz de
 155 publicar este livro para as muitas comunidades que conhecemos e
 156 gostamos. Sou grato a Paul e Sarah por sua criatividade e ideias, e às
 157 comunidades globais que nos ajudaram a trazer isso para você. Como
 158 frequentemente diz o membro do conselho da CC, Johnathan Nightingale,
 159 <span class="quote">“<span class="quote">É tudo feito de pessoas.</span>”</span>
 160   </p><p>
 161     Esse é o verdadeiro valor das coisas feitas com Creative Commons.
 162   </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 163     \textit{ Ryan Merkley, CEO, Creative Commons}
 164     \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introdução</h1></div></div></div><p>
 165     Este livro mostra ao mundo como o compartilhamento pode ser bom para os
 166 negócios – mas com uma diferença.
 167   </p><p>
 168     Começamos o projeto com a intenção de explorar como criadores, organizações
 169 e empresas ganham dinheiro para sustentar o que fazem quando compartilham
 170 seus trabalhos usando licenças Creative Commons. Nosso objetivo não era
 171 identificar uma fórmula para modelos de negócios que usam Creative Commons,
 172 mas, em vez disso, reunir ideias novas e exemplos dinâmicos que geram
 173 modelos novos e inovadores e ajudam outros a seguir o exemplo, construindo
 174 sobre o que já funciona. No início, estruturamos nossa investigação em
 175 termos de negócios familiares. Criamos uma <span class="quote">“<span class="quote">tela de modelo de negócios
 176 aberto</span>”</span> em branco, uma ferramenta on-line interativa que ajudaria as
 177 pessoas a projetar e analisar seu modelo de negócios.
 178   </p><p>
 179     Por meio do generoso financiamento dos patrocinadores do Kickstarter,
 180 começamos este projeto primeiro identificando e – selecionando um grupo
 181 diverso de criadores, organizações e empresas que usam a Creative Commons de
 182 uma forma integral o que chamamos de ser Feito com Creative Commons. Nós os
 183 entrevistamos e escrevemos suas histórias. Analisamos o que ouvimos e nos
 184 aprofundamos na literatura.
 185   </p><p>
 186     Mas enquanto fazíamos nossa pesquisa, algo interessante aconteceu. Nossa
 187 maneira inicial de enquadrar o trabalho não combinava com as histórias que
 188 estávamos ouvindo.
 189   </p><p>
 190     Os entrevistados não eram empresas típicas que vendem para consumidores e
 191 buscam maximizar os lucros e os resultados financeiros. Em vez disso, eles
 192 estavam compartilhando para tornar o mundo um lugar melhor, criando
 193 relacionamentos e comunidade em torno das obras que estavam sendo
 194 compartilhadas e gerando receita não para um crescimento ilimitado, mas para
 195 sustentar a operação.
 196   </p><p>
 197     Muitas vezes eles não gostavam de ouvir o que eles faziam descrito como um
 198 modelo de negócios aberto. Seu esforço era algo mais do que isso. Algo
 199 diferente. Algo que gera não apenas valor econômico, mas também valor social
 200 e cultural. Algo que envolve conexão humana. Ser Feito com Creative Commons
 201 não é um <span class="quote">“<span class="quote">negócio de costume</span>”</span>.
 202   </p><p>
 203     Tivemos que repensar a forma como concebemos esse projeto. E isso não
 204 aconteceu da noite para o dia. Do outono de 2015 a 2016, documentamos nossas
 205 ideias em postagens de blog no Medium e com atualizações regulares para
 206 nossos patrocinadores do Kickstarter. Compartilhamos rascunhos de estudos de
 207 caso e análises com nossos cocriadores do Kickstarter, que forneceram
 208 edições, feedback e conselhos inestimáveis. Nosso pensamento mudou
 209 drasticamente ao longo de um ano e meio.
 210   </p><p>
 211     Ao longo do processo, nós dois frequentemente tínhamos maneiras muito
 212 diferentes de compreender e descrever o que estávamos aprendendo. Aprender
 213 um com o outro foi uma das grandes alegrias deste trabalho e, esperamos,
 214 algo que tornou o produto final muito mais rico do que jamais poderia ter
 215 sido se qualquer um de nós empreendesse este projeto sozinho. Nós
 216 preservamos nossas vozes por toda parte, e você será capaz de sentir nossas
 217 abordagens diferentes, mas complementares, enquanto lê nossas diferentes
 218 seções.
 219   </p><p>
 220     Embora recomendamos que você leia o livro do início ao fim, cada seção é
 221 lida de forma mais ou menos independente. O livro está estruturado em duas
 222 partes principais.
 223   </p><p>
 224     A parte um, a visão geral, começa com uma estrutura geral escrita por
 225 Paul. Ele fornece algum contexto histórico para os bens comuns digitais,
 226 descrevendo as três maneiras como a sociedade administrou recursos e
 227 compartilhou riqueza – os bens comuns, o mercado e o estado. Ele defende
 228 pensar além dos negócios e dos termos de mercado e eloquentemente defende o
 229 compartilhamento e a ampliação dos bens comuns digitais.
 230   </p><p>
 231     A visão geral continua com o capítulo de Sarah, enquanto ela considera o que
 232 significa ser Feito com Creative Commons com sucesso. Embora ganhar dinheiro
 233 seja uma parte do bolo, há também um conjunto de valores voltados para o
 234 público e o tipo de conexões humanas que tornam o compartilhamento
 235 verdadeiramente significativo. Esta seção descreve as maneiras como os
 236 criadores, organizações e empresas que entrevistamos geram receita, como
 237 promovem o interesse público e vivem seus valores e como promovem conexões
 238 com as pessoas com quem compartilham.
 239   </p><p>
 240     E para encerrar a primeira parte, temos uma pequena seção que explica as
 241 diferentes licenças Creative Commons. Falamos sobre o equívoco de que as
 242 licenças mais restritivas – aquelas que estão mais próximas do modelo com
 243 todos os direitos reservados do direito autoral tradicional – são as únicas
 244 maneiras de ganhar dinheiro.
 245   </p><p>
 246     A segunda parte do livro é composta pelas vinte e quatro histórias dos
 247 criadores, empresas e organizações que entrevistamos. Enquanto nós dois
 248 participamos das entrevistas, dividimos a redação desses perfis.
 249   </p><p>
 250     Obviamente, temos o prazer de disponibilizar o livro usando uma licença
 251 Creative Commons Atribuição-CompartilhaIgual. Copie, distribua, traduza,
 252 localize e desenvolva esta obra.
 253   </p><p>
 254     Escrever este livro nos transformou e nos inspirou. A maneira como agora
 255 olhamos e pensamos sobre o que significa ser Feito com Creative Commons
 256 mudou irrevogavelmente. Esperamos que este livro inspire você e sua empresa
 257 a usar o Creative Commons e, assim, contribuir para a transformação de nossa
 258 economia e do mundo para melhor.
 259   </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 260     \textit{ Paul e Sarah }
 261     \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Parte I. O Quadro Geral</h1></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. O Novo Mundo dos Comuns Digitais</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Como ser Feito com Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Capítulo 1. O Novo Mundo dos Comuns Digitais</h2></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">Os Comuns, o Mercado e o Estado</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">Os Quatro Aspectos de um Recurso</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">Uma Breve História dos Comuns</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">A Revolução Digital</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">O Nascimento da Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">O Mercado em Mudança</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefícios do Comum Digital</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Nossos estudos de caso</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 262     \textit{ Paul Stacey}
 263     \end{flushright}</td></tr></table></div><p>
 264       Jonathan Rowe descreve eloquentemente os comuns como <span class="quote">“<span class="quote">o ar e os
 265 oceanos, a teia de espécies, a natureza selvagem e a água corrente – todos
 266 são partes dos bens comuns. Assim como a linguagem e o conhecimento, as
 267 calçadas e praças públicas, as histórias da infância e os processos de
 268 democracia. Algumas partes dos comuns são dádivas da natureza, outras são o
 269 produto do esforço humano. Alguns são novos, como a Internet; outros são tão
 270 antigos quanto o solo e a caligrafia.</span>”</span><a href="#ftn.idm112" class="footnote" name="idm112"><sup class="footnote">[1]</sup></a>
 271     </p><p>
 272       Em Feito com Creative Commons, nos concentramos em nossa era atual de comuns
 273 digitais, um patrimônio comum de obras produzidas pelo homem. Esse comum
 274 abrange uma ampla gama de áreas, incluindo patrimônio cultural, educação,
 275 pesquisa, tecnologia, arte, design, literatura, entretenimento, negócios e
 276 dados. As obras produzidas pelo homem em todas essas áreas são cada vez mais
 277 digitais. A Internet é uma espécie de comum digital global. Os indivíduos,
 278 organizações e empresas cujo perfil temos em nossos estudos de caso usam
 279 Creative Commons para compartilhar seus recursos online pela Internet.
 280     </p><p>
 281       O comum não se trata apenas de recursos compartilhados, no entanto. É também
 282 sobre as práticas sociais e os valores que os gerem. Um recurso é um
 283 substantivo, mas "comunalizar" – colocar o recurso no espaço comum – é um
 284 verbo.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[2]</sup></a> Os criadores, organizações e
 285 empresas que definimos estão todos engajados em compartilhar. O uso da
 286 Creative Commons os envolve na prática social de compartilhamento,
 287 gerenciando recursos de forma coletiva com uma comunidade de
 288 usuários.<a href="#ftn.idm120" class="footnote" name="idm120"><sup class="footnote">[3]</sup></a> O compartilhamento é guiado
 289 por um conjunto de valores e normas que equilibram os custos e benefícios da
 290 empresa com aqueles da comunidade. Atenção especial é dada ao acesso, uso e
 291 sustentabilidade equitativos.
 292     </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>Os Comuns, o Mercado e o Estado</h2></div></div></div><p>
 293         Historicamente, houve três maneiras de gerenciar recursos e compartilhar
 294 riqueza: os comuns (administrados coletivamente), o estado (ou seja, o
 295 governo) e o mercado – com os dois últimos sendo as formas dominantes
 296 hoje.<a href="#ftn.idm126" class="footnote" name="idm126"><sup class="footnote">[4]</sup></a>
 297       </p><p>
 298         As organizações e empresas em nossos estudos de caso são únicas na forma
 299 como participam dos bens comuns enquanto se envolvem com o mercado e/ou
 300 estado. A extensão do envolvimento com o mercado ou estado varia. Alguns
 301 operam principalmente como comuns com o mínimo ou nenhuma dependência do
 302 mercado ou estado.<a href="#ftn.idm130" class="footnote" name="idm130"><sup class="footnote">[5]</sup></a> Outros fazem parte
 303 do mercado ou estado, dependendo deles para a sustentabilidade
 304 financeira. Todos operam como híbridos, mesclando as normas dos comuns com
 305 as do mercado ou do estado.
 306       </p><p>
 307         A fig. <a class="xref" href="#fig-1" title="Figura 1.1. Engajamento empresarial com comuns, estado e mercado.">1.1</a> é uma representação
 308 de como uma empresa pode ter vários níveis de envolvimento com comuns,
 309 estado e mercado.
 310       </p><p>
 311         Alguns de nossos estudos de caso são simplesmente comuns e empresas de
 312 mercado com pouco ou nenhum envolvimento com o estado. Uma descrição desses
 313 estudos de caso mostraria a esfera do estado como pequena ou até
 314 ausente. Outros estudos de caso são principalmente baseados no mercado, com
 315 apenas um pequeno envolvimento com os comuns. Uma descrição desses estudos
 316 de caso mostraria a esfera do mercado tão grande e a esfera dos comuns tão
 317 pequena. A extensão em que uma empresa se considera primariamente de um tipo
 318 ou de outro afeta o equilíbrio das normas pelas quais opera.
 319       </p><p>
 320         Todos os nossos estudos de caso geram dinheiro como meio de subsistência e
 321 sustentabilidade. O dinheiro é principalmente do mercado. Encontrar maneiras
 322 de gerar receita enquanto se mantém fiel aos valores essenciais dos comuns
 323 (geralmente expressos em declarações de missão) é um desafio. Gerenciar a
 324 interação e o engajamento entre os comuns e o mercado exige um toque hábil,
 325 um forte senso de valores e a capacidade de combinar o melhor de ambos.
 326       </p><p>
 327         O estado tem um papel importante a desempenhar na promoção do uso e adoção
 328 dos comuns. Os programas e fundos estaduais podem contribuir deliberadamente
 329 para construir os comuns. Além do dinheiro, as leis e regulamentos relativos
 330 à propriedade, direitos autorais, negócios e finanças podem ser projetados
 331 para promover os comuns.
 332       </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figura 1.1. Engajamento empresarial com comuns, estado e mercado.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Engajamento empresarial com comuns, estado e mercado."></td></tr></table></div></div></div><br class="figure-break"><p>
 333         É útil entender como os comuns, o mercado e o estado gerenciam os recursos
 334 de maneira diferente, e não apenas para aqueles que se consideram
 335 principalmente como comuns. Para empresas ou organizações governamentais que
 336 desejam se envolver e usar os comuns, saber como os comuns funciona os
 337 ajudará a compreender a melhor forma de fazer isso. Participar e usar os
 338 comuns da mesma forma que você faz com o mercado ou estado não é uma
 339 estratégia para o sucesso.
 340       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>Os Quatro Aspectos de um Recurso</h2></div></div></div><p>
 341         Como parte de sua obra ganhadora do Prêmio Nobel, Elinor Ostrom desenvolveu
 342 uma estrutura para analisar como os recursos naturais são gerenciados em um
 343 comum.<a href="#ftn.idm149" class="footnote" name="idm149"><sup class="footnote">[6]</sup></a> Sua estrutura considerou coisas
 344 como as características biofísicas de recursos comuns, os atores da
 345 comunidade e as interações que ocorrem entre eles, regras em uso e
 346 resultados. Essa estrutura foi simplificada e generalizada para se aplicar
 347 aos comuns, ao mercado e ao estado neste capítulo.
 348       </p><p>
 349         Para comparar e contrastar as maneiras pelas quais os comuns, o mercado e o
 350 estado funcionam, vamos considerar quatro aspectos da gestão de recursos:
 351 características dos recursos, as pessoas envolvidas e o processo que usam,
 352 as normas e regras que desenvolvem para governar o uso e, finalmente, uso de
 353 recursos junto com os resultados desse uso (ver Fig. <a class="xref" href="#fig-2" title="Figura 1.2. Quatro aspectos da gestão de recursos">1.2</a>).
 354       </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figura 1.2. Quatro aspectos da gestão de recursos</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Quatro aspectos da gestão de recursos"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Características</h3></div></div></div><p>
 355           Os recursos têm características ou atributos específicos que afetam a
 356 maneira como podem ser usados. Alguns recursos são naturais; outros são
 357 produzidos pelo homem. E – significativamente para o comum de hoje – os
 358 recursos podem ser físicos ou digitais, o que afeta o potencial inerente de
 359 um recurso.
 360         </p><p>
 361           Os recursos físicos existem em oferta limitada. Se eu tenho um recurso
 362 físico e dou a você, não o tenho mais. Quando um recurso é removido e usado,
 363 o suprimento se torna escasso ou esgotado. A escassez pode resultar em
 364 rivalidade competitiva pelo recurso. As empresas feitas com Creative Commons
 365 geralmente são baseadas em formato digital, mas alguns de nossos estudos de
 366 caso também produzem recursos na forma física. Os custos de produção e
 367 distribuição de um bem físico geralmente exigem que elas se envolvam com o
 368 mercado.
 369         </p><p>
 370           Os recursos físicos são esgotáveis, exclusivos e rivais. Os recursos
 371 digitais, por outro lado, são não esgotáveis, não exclusivos e não
 372 rivais. Se eu compartilhar um recurso digital com você, ambos teremos o
 373 recurso. Dar a você não significa que eu não o tenha mais. Os recursos
 374 digitais podem ser armazenados, copiados e distribuídos infinitamente sem se
 375 esgotarem e com custo próximo a zero. Abundância, em vez de escassez, é uma
 376 característica inerente aos recursos digitais.
 377         </p><p>
 378           A natureza não esgotável, não exclusiva e não rival dos recursos digitais
 379 significa que as regras e normas para gerenciá-los podem (e devem) ser
 380 diferentes de como os recursos físicos são gerenciados. No entanto, nem
 381 sempre é esse o caso. Os recursos digitais são frequentemente tornados
 382 artificialmente escassos. Colocar recursos digitais nos comuns os torna
 383 livre e abundantes.
 384         </p><p>
 385           Nossos estudos de caso gerenciam frequentemente recursos híbridos, que
 386 começam como digitais com a possibilidade de se tornarem um recurso
 387 físico. O arquivo digital de um livro pode ser impresso em papel e
 388 transformado em livro físico. Um projeto de mobília renderizado por
 389 computador pode ser fisicamente fabricado em madeira. Essa conversão do
 390 digital para o físico invariavelmente tem custos. Muitas vezes, os recursos
 391 digitais são gerenciados de forma livre e aberta, mas o dinheiro é cobrado
 392 para converter um recurso digital em físico.
 393         </p><p>
 394           Além dessa ideia de físico versus digital, os comuns, o mercado e o estado
 395 concebem os recursos de maneira diferente (veja Fig. <a class="xref" href="#fig-3" title="Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.">1.3</a>). O mercado vê os recursos como
 396 bens privados – mercadorias para venda – dos quais o valor é extraído. O
 397 estado vê os recursos como bens públicos que fornecem valor aos cidadãos do
 398 estado. Os comuns vêem os recursos como comuns, proporcionando uma riqueza
 399 comum que se estende além das fronteiras do estado, a ser repassada de forma
 400 inalterada ou aprimorada para as gerações futuras.
 401         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="people-and-processes"></a>Pessoas e processos</h3></div></div></div><p>
 402           Nos comuns, no mercado e no estado, diferentes pessoas e processos são
 403 usados para gerenciar os recursos. Os processos usados definem quem tem uma
 404 palavra a dizer e como um recurso é gerenciado.
 405         </p><p>
 406           No estado, um governo de funcionários eleitos é responsável por administrar
 407 os recursos em nome do público. Os cidadãos que produzem e usam esses
 408 recursos não estão diretamente envolvidos; em vez disso, essa
 409 responsabilidade é entregue ao governo. Ministérios e departamentos
 410 estaduais com funcionários públicos definem orçamentos, implementam
 411 programas e administram recursos com base nas prioridades e procedimentos do
 412 governo.
 413         </p><p>
 414           No mercado, as pessoas envolvidas são produtores, compradores, vendedores e
 415 consumidores. As empresas atuam como intermediários entre aqueles que
 416 produzem recursos e aqueles que os consomem ou usam. Os processos de mercado
 417 procuram extrair o máximo de valor monetário possível dos recursos. No
 418 mercado, os recursos são administrados como mercadorias, frequentemente
 419 produzidos em massa e vendidos aos consumidores com base em uma transação em
 420 dinheiro.
 421         </p><p>
 422           Em contraste com o estado e o mercado, os recursos em um comum são
 423 gerenciados mais diretamente pelas pessoas envolvidas.<a href="#ftn.idm177" class="footnote" name="idm177"><sup class="footnote">[7]</sup></a> Os criadores de recursos humanos produzidos podem
 424 colocá-los no comum por escolha pessoal. Nenhuma permissão do estado ou do
 425 mercado é necessária. Qualquer um pode participar dos comuns e determinar
 426 por si mesmo até que ponto deseja se envolver – como contribuidor, usuário
 427 ou gerente. As pessoas envolvidas incluem não apenas aqueles que criam e
 428 usam os recursos, mas também aqueles afetados pelo resultado do uso. Quem
 429 você é afeta a sua opinião, as ações que você pode tomar e a extensão da
 430 tomada de decisão. Nos comuns, a comunidade como um todo gerencia os
 431 recursos. Os recursos colocados nos comuns usando Creative Commons exigem
 432 que os usuários dêem crédito ao criador original. Conhecer a pessoa por trás
 433 de um recurso torna os comuns menos anônimos e mais pessoais.
 434         </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="Como o mercado, os bens comuns e o estado geram recursos."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Normas e regras</h3></div></div></div><p>
 435           As interações sociais entre as pessoas e os processos usados pelo estado,
 436 mercado e bens comuns desenvolvem normas e regras sociais. Essas normas e
 437 regras definem permissões, alocam direitos e resolvem disputas.
 438         </p><p>
 439           A autoridade do estado é governada pelas constituições nacionais. As normas
 440 relacionadas a prioridades e tomada de decisões são definidas por
 441 funcionários eleitos e procedimentos parlamentares. As regras estaduais são
 442 expressas por meio de políticas, regulamentos e leis. O estado influencia as
 443 normas e regras do mercado e dos comuns por meio das regras que passa.
 444         </p><p>
 445           As normas de mercado são influenciadas pela economia e pela competição por
 446 recursos escassos. As regras do mercado seguem as leis de propriedade,
 447 negócios e financeiras definidas pelo estado.
 448         </p><p>
 449           Tal como acontece com o mercado, um comum pode ser influenciado por
 450 políticas, regulamentos e leis estaduais. Mas as normas e regras de um comum
 451 são amplamente definidas pela comunidade. Elas pesam os custos e benefícios
 452 individuais em relação aos custos e benefícios para toda a comunidade. A
 453 consideração é dada não apenas à eficiência econômica, mas também à equidade
 454 e sustentabilidade.<a href="#ftn.idm193" class="footnote" name="idm193"><sup class="footnote">[8]</sup></a>
 455         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Objetivos</h3></div></div></div><p>
 456           A combinação dos aspectos que discutimos até agora – as características
 457 inerentes do recurso, pessoas e processos, e normas e regras – moldam como
 458 os recursos são usados. O uso também é influenciado pelos diferentes
 459 objetivos que o estado, o mercado e os comuns têm.
 460         </p><p>
 461           No mercado, o foco é maximizar a utilidade de um recurso. O que pagamos
 462 pelos bens que consumimos é visto como uma medida objetiva da utilidade que
 463 eles fornecem. A meta então passa a ser maximizar o valor monetário total na
 464 economia.<a href="#ftn.idm200" class="footnote" name="idm200"><sup class="footnote">[9]</sup></a> As unidades consumidas se
 465 traduzem em vendas, receita, lucro e crescimento, e todas essas são maneiras
 466 de medir as metas do mercado.
 467         </p><p>
 468           O estado visa usar e administrar os recursos de uma forma que equilibre a
 469 economia com as necessidades sociais e culturais de seus cidadãos. Saúde,
 470 educação, empregos, meio ambiente, transporte, segurança, patrimônio e
 471 justiça são facetas de uma sociedade saudável, e o estado aplica seus
 472 recursos para esses objetivos. Metas estaduais são refletidas em medidas de
 473 qualidade de vida.
 474         </p><p>
 475           Nos comuns, a meta é maximizar o acesso, equidade, distribuição,
 476 participação, inovação e sustentabilidade. Você pode medir o sucesso
 477 observando quantas pessoas acessam e usam um recurso; como os usuários são
 478 distribuídos por gênero, renda e localização; se uma comunidade para
 479 estender e aumentar os recursos está sendo formada; e se os recursos estão
 480 sendo usados de maneiras inovadoras para o bem pessoal e social.
 481         </p><p>
 482           Como combinações híbridas de comuns com o mercado ou estado, o sucesso e a
 483 sustentabilidade de todas as nossas empresas de estudo de caso dependem de
 484 sua capacidade de utilizar e equilibrar estrategicamente esses diferentes
 485 aspectos de gerenciamento de recursos.
 486         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="a-short-history-of-the-commons"></a>Uma Breve História dos Comuns</h2></div></div></div><p>
 487         Usar os comuns para gerenciar recursos faz parte de um longo continuum
 488 histórico. No entanto, na sociedade contemporânea, o mercado e o Estado
 489 dominam o discurso sobre como os recursos são mais bem
 490 administrados. Raramente os comuns são considerados uma opção. Os comuns
 491 desapareceram amplamente da consciência e da consideração. Não há notícias
 492 ou discursos sobre os comuns.
 493       </p><p>
 494         Mas os mais de 1,1 bilhão de recursos licenciados com Creative Commons em
 495 todo o mundo são indicações de um movimento de base em direção aos
 496 comuns. Os comuns estão ressurgindo. Para entender a resiliência dos comuns
 497 e sua renovação atual, é útil saber um pouco de sua história.
 498       </p><p>
 499         Durante séculos, povos indígenas e sociedades pré-industrializadas
 500 administraram recursos, incluindo água, alimentos, lenha, irrigação, peixes,
 501 caça selvagem e muitas outras coisas coletivamente como comuns.<a href="#ftn.idm212" class="footnote" name="idm212"><sup class="footnote">[10]</sup></a> Não havia mercado, não havia economia global. O
 502 estado na forma de governantes influenciou os bens comuns, mas de forma
 503 alguma os controlou. A participação social direta em um comum era a
 504 principal maneira pela qual os recursos eram administrados e as necessidades
 505 atendidas. (Fig. <a class="xref" href="#fig-4" title="Figura 1.4. Na sociedade pré-industrializada.">1.4</a> ilustra os
 506 comuns em relação ao Estado e ao mercado.)
 507       </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figura 1.4. Na sociedade pré-industrializada.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="Na sociedade pré-industrializada."></td></tr></table></div></div></div><br class="figure-break"><p>
 508         Isso é seguido por uma longa história do Estado (uma monarquia ou
 509 governante) assumindo o controle dos comuns para seus próprios fins. Isso é
 510 chamado de cerco dos comuns.<a href="#ftn.idm225" class="footnote" name="idm225"><sup class="footnote">[11]</sup></a>
 511 Antigamente, <span class="quote">“<span class="quote">plebeus</span>”</span> eram expulsos da terra, cercas e sebes
 512 erguidas, leis aprovadas e segurança criada para proibir o
 513 acesso.<a href="#ftn.idm229" class="footnote" name="idm229"><sup class="footnote">[12]</sup></a> Gradualmente, recursos
 514 tornou-se propriedade do Estado e o Estado tornou-se o principal meio pelo
 515 qual os recursos eram administrados. (Veja Fig. <a class="xref" href="#fig-5" title="Figura 1.5. O comum é gradualmente substituído pelo Estado.">1.5</a>).
 516       </p><p>
 517         Propriedades de terra, água e caça foram distribuídas para famílias
 518 governantes e nomeados políticos. Plebeus deslocados da terra migraram para
 519 as cidades. Com o surgimento da revolução industrial, a terra e os recursos
 520 tornaram-se mercadorias vendidas a empresas para apoiar a produção. As
 521 monarquias evoluíram para parlamentos eleitos. Os plebeus tornaram-se
 522 trabalhadores que ganham dinheiro operando a maquinaria da indústria. As
 523 leis financeiras, comerciais e de propriedade foram revisadas pelos governos
 524 para apoiar os mercados, o crescimento e a produtividade. Com o tempo, o
 525 acesso imediato aos bens produzidos no mercado resultou em um padrão de vida
 526 em elevação, saúde melhorada e educação. A Fig. <a class="xref" href="#fig-6" title="Figura 1.6. Como o mercado, o estado e os comuns são hoje.">1.6</a> mostra como hoje o mercado é o
 527 principal meio pelo qual os recursos são gerenciados.
 528       </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figura 1.5. O comum é gradualmente substituído pelo Estado.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="O comum é gradualmente substituído pelo Estado."></td></tr></table></div></div></div><br class="figure-break"><p>
 529         No entanto, o mundo hoje está passando por tempos turbulentos. Os benefícios
 530 do mercado foram compensados pela distribuição desigual e superexploração.
 531       </p><p>
 532         A superexploração foi o tópico do influente ensaio de Garrett Hardin
 533 <span class="quote">“<span class="quote">The Tragedy of the Commons</span>”</span>, publicado na Science em
 534 1968. Hardin argumenta que todos em um bem comum procuram maximizar o ganho
 535 pessoal e continuarão a fazê-lo mesmo quando os limites de os bens comuns
 536 são alcançados. O comum é então tragicamente esgotado a ponto de não poder
 537 mais sustentar ninguém. O ensaio de Hardin tornou-se amplamente aceito como
 538 um truísmo econômico e uma justificativa para a propriedade privada e os
 539 mercados livres.
 540       </p><p>
 541         No entanto, há uma falha séria em <span class="quote">“<span class="quote">The Tragedy of the Commons</span>”</span>
 542 de Hardin – é uma ficção. Hardin não estudou realmente como funcionam os
 543 comuns reais. Elinor Ostrom ganhou o Prêmio Nobel de Economia em 2009 por
 544 seu trabalho ao estudar diferentes áreas comuns em todo o mundo. O trabalho
 545 de Ostrom mostra que os recursos naturais comuns podem ser administrados com
 546 sucesso pelas comunidades locais, sem qualquer regulamentação das
 547 autoridades centrais ou sem privatização. Governo e privatização não são as
 548 únicas opções. Existe uma terceira via: gestão pelas pessoas, onde aqueles
 549 que são diretamente impactados estão diretamente envolvidos. Com recursos
 550 naturais, existe uma localidade regional. As pessoas da região são as mais
 551 familiarizadas com o recurso natural, têm com ele a relação e a história
 552 mais direta e, portanto, estão em melhor posição para gerenciá-lo. A
 553 abordagem de Ostrom para a governança dos recursos naturais rompeu com as
 554 convenções; ela reconheceu a importância dos comuns como uma alternativa ao
 555 mercado ou estado para resolver problemas de ação coletiva.<a href="#ftn.idm248" class="footnote" name="idm248"><sup class="footnote">[13]</sup></a>
 556       </p><p>
 557         Hardin deixou de considerar a real dinâmica social dos comuns. Seu modelo
 558 pressupõe que as pessoas comuns agem de forma autônoma, por puro interesse
 559 próprio, sem interação ou consideração pelos outros. Mas, como Ostrom
 560 descobriu, na realidade, gerenciar recursos comuns em conjunto forma uma
 561 comunidade e incentiva o discurso. Isso naturalmente gera normas e regras
 562 que ajudam as pessoas a trabalhar coletivamente e garantir um bem comum
 563 sustentável. Paradoxalmente, embora o ensaio de Hardin seja chamado, em
 564 inglês, de A Tragédia dos Comuns, pode ser mais precisamente intitulado A
 565 Tragédia do Mercado.
 566       </p><p>
 567         A história de Hardin é baseada na premissa de recursos esgotáveis. Os
 568 economistas têm se concentrado quase exclusivamente nos mercados baseados na
 569 escassez. Muito pouco se sabe sobre como funciona a abundância.<a href="#ftn.idm254" class="footnote" name="idm254"><sup class="footnote">[14]</sup></a> O surgimento da tecnologia da informação e da
 570 Internet levou a uma explosão de recursos digitais e novos meios de
 571 compartilhamento e distribuição. Os recursos digitais nunca podem ser
 572 esgotados. A ausência de uma teoria ou modelo de funcionamento da
 573 abundância, no entanto, tem levado o mercado a tornar artificialmente
 574 escassos os recursos digitais e possibilitar a aplicação das normas e regras
 575 usuais de mercado.
 576       </p><p>
 577         Quando se trata de usar fundos do estado para criar bens digitais, no
 578 entanto, realmente não há justificativa para a escassez artificial. A norma
 579 para obras digitais financiadas pelo estado deve ser que elas estejam livre
 580 e abertamente disponíveis ao público que pagou por elas.
 581       </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figura 1.6. Como o mercado, o estado e os comuns são hoje.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="Como o mercado, o estado e os comuns são hoje."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>A Revolução Digital</h2></div></div></div><p>
 582         Nos primeiros dias da computação, programadores e desenvolvedores aprenderam
 583 uns com os outros compartilhando software. Na década de 1980, o movimento do
 584 software livre codificou essa prática de compartilhamento em um conjunto de
 585 princípios e liberdades:
 586       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 587             A liberdade de executar um programa de software como desejar, para qualquer
 588 propósito.
 589           </p></li><li class="listitem"><p>
 590             A liberdade de estudar como um programa de software funciona (porque o
 591 acesso ao código-fonte foi concedido livremente), e alterá-lo para que ele
 592 faça sua computação como você desejar.
 593           </p></li><li class="listitem"><p>
 594             A liberdade de redistribuir cópias.
 595           </p></li><li class="listitem"><p>
 596             A liberdade de distribuir cópias de suas versões modificadas para outras
 597 pessoas.<a href="#ftn.idm278" class="footnote" name="idm278"><sup class="footnote">[15]</sup></a>
 598           </p></li></ul></div><p>
 599         Esses princípios e liberdades constituem um conjunto de normas e regras que
 600 tipificam um comum digital.
 601       </p><p>
 602         No final da década de 1990, para tornar o compartilhamento de código-fonte e
 603 colaboração mais atraente para as empresas, a iniciativa de software de
 604 código-fonte aberto converteu esses princípios em licenças e padrões para
 605 gerenciar o acesso e distribuição de software. Os benefícios do código
 606 aberto – como confiabilidade, escalabilidade e qualidade verificada por
 607 revisão por pares independentes – tornaram-se amplamente reconhecidos e
 608 aceitos. Os clientes gostaram da maneira como o código aberto lhes deu
 609 controle sem ficar preso a uma tecnologia proprietária fechada. O software
 610 livre e de código aberto também gerou um efeito de rede onde o valor de um
 611 produto ou serviço aumenta com o número de pessoas que o usam.<a href="#ftn.idm284" class="footnote" name="idm284"><sup class="footnote">[16]</sup></a> O crescimento dramático da própria Internet deve
 612 muito ao fato de que ninguém tem um bloqueio proprietário nos protocolos
 613 básicos da Internet.
 614       </p><p>
 615         Embora o software de código aberto funcione como um bem comum, muitas
 616 empresas e mercados se desenvolveram em torno dele. Modelos de negócios
 617 baseados em licenças e padrões de software de código aberto evoluíram junto
 618 com organizações que gerenciavam o código de software com base em princípios
 619 de abundância em vez de escassez. O ensaio de Eric Raymond <span class="quote">“<span class="quote">The Magic
 620 Cauldron</span>”</span> faz um ótimo trabalho ao analisar a economia e os modelos
 621 de negócios associados ao software de código aberto.<a href="#ftn.idm289" class="footnote" name="idm289"><sup class="footnote">[17]</sup></a> Esses modelos podem fornecer exemplos de abordagens
 622 sustentáveis para aqueles feitos com Creative Commons.
 623       </p><p>
 624         Não se trata apenas de uma disponibilidade abundante de ativos digitais, mas
 625 também de uma abundância de participação. O crescimento da computação
 626 pessoal, da tecnologia da informação e da Internet possibilitou a
 627 participação em massa na produção e distribuição de trabalhos
 628 criativos. Fotos, livros, música e muitas outras formas de conteúdo digital
 629 agora podiam ser prontamente criados e distribuídos por quase qualquer
 630 pessoa. Apesar desse potencial de abundância, por padrão, essas obras
 631 digitais são regidas por leis de direitos autorais. De acordo com os
 632 direitos autorais, uma obra digital é propriedade do criador e, por lei,
 633 outras pessoas estão proibidas de acessá-la e usá-la sem a permissão do
 634 criador.
 635       </p><p>
 636         Mas as pessoas gostam de compartilhar. Uma das maneiras de nos definirmos é
 637 compartilhando conteúdo valioso e divertido. Fazer isso desenvolve e nutre
 638 relacionamentos, busca mudar opiniões, incentiva a ação e informa os outros
 639 sobre quem somos e com o que nos importamos. Compartilhar permite que nos
 640 sintamos mais envolvidos com o mundo.<a href="#ftn.idm296" class="footnote" name="idm296"><sup class="footnote">[18]</sup></a>
 641       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-birth-of-creative-commons"></a>O Nascimento da Creative Commons</h2></div></div></div><p>
 642         Em 2001, Creative Commons foi criada como uma organização sem fins
 643 lucrativos para apoiar todos aqueles que desejavam compartilhar conteúdo
 644 digital. Um conjunto de licenças Creative Commons foi modelado com base no
 645 software de código aberto, mas para uso com conteúdo digital em vez de
 646 código de software. As licenças oferecem a todos, de criadores individuais a
 647 grandes empresas e instituições, uma maneira simples e padronizada de
 648 conceder permissões de direitos autorais para suas obras criativas.
 649       </p><p>
 650         As licenças Creative Commons têm um design de três camadas. As normas e
 651 regras de cada licença são primeiramente expressas em linguagem jurídica
 652 completa, conforme usada pelos advogados. Essa camada é chamada de código
 653 legal. Mas como a maioria dos criadores e usuários não são advogados, as
 654 licenças também têm uma escritura comum, expressando as permissões em
 655 linguagem simples, que as pessoas comuns podem ler e entender
 656 rapidamente. Ele atua como uma interface amigável para a camada de código
 657 legal abaixo. A terceira camada é a que pode ser lida por máquina, tornando
 658 mais fácil para a web saber que uma obra é licenciada pelo Creative Commons,
 659 expressando permissões de uma forma que sistemas de software, mecanismos de
 660 busca e outros tipos de tecnologia possam entender.<a href="#ftn.idm304" class="footnote" name="idm304"><sup class="footnote">[19]</sup></a> Juntas, essas três camadas garantem que criadores,
 661 usuários e até mesmo a própria web entendam as normas e regras associadas ao
 662 conteúdo digital em um comum.
 663       </p><p>
 664         Em 2015, havia mais de um bilhão de obras licenciadas Creative Commons em um
 665 espaço comum global. Esses trabalhos foram vistos online 136 bilhões de
 666 vezes. As pessoas estão usando licenças Creative Commons em todo o mundo, em
 667 trinta e quatro idiomas. Esses recursos incluem fotos, arte, artigos de
 668 pesquisa em periódicos, recursos educacionais, música e outras faixas de
 669 áudio e vídeos.
 670       </p><p>
 671         Artistas, fotógrafos, músicos e cineastas individuais usam o Creative
 672 Commons, mas o mesmo acontece com museus, governos, indústrias criativas,
 673 fabricantes e editoras. Milhões de sites usam licenças CC, incluindo
 674 plataformas principais como Wikipédia e Flickr e outras menores como
 675 blogs.<a href="#ftn.idm310" class="footnote" name="idm310"><sup class="footnote">[20]</sup></a> Os usuários do Creative Commons
 676 são diversos e abrangem muitos setores diferentes. (Nossos estudos de caso
 677 foram escolhidos para refletir essa diversidade.)
 678       </p><p>
 679         Alguns vêem o Creative Commons como uma forma de compartilhar um presente
 680 com outras pessoas, uma forma de se tornar conhecido ou uma forma de
 681 fornecer benefício social. Outros estão simplesmente comprometidos com as
 682 normas associadas a bens comuns. E para alguns, a participação foi
 683 estimulada pelo movimento da cultura livre, um movimento social que promove
 684 a liberdade de distribuir e modificar trabalhos criativos. O movimento da
 685 cultura livre vê os comuns como proporcionando benefícios significativos em
 686 comparação com as leis restritivas de direitos autorais. Este ethos de troca
 687 livre em um comum alinha o movimento da cultura livre com o movimento do
 688 software livre e de código aberto.
 689       </p><p>
 690         Com o tempo, o Creative Commons gerou uma série de movimentos abertos,
 691 incluindo recursos educacionais abertos, acesso aberto, ciência aberta e
 692 dados abertos. O objetivo em todos os casos foi democratizar a participação
 693 e compartilhar recursos digitais sem nenhum custo, com permissões legais
 694 para qualquer pessoa acessar, usar e modificar livremente.
 695       </p><p>
 696         O Estado está cada vez mais envolvido no apoio a movimentos abertos. A
 697 Parceria para Governo Aberto foi lançada em 2011 para fornecer uma
 698 plataforma internacional para os governos se tornarem mais abertos,
 699 responsáveis e responsivos aos cidadãos. Desde então, cresceu de oito países
 700 participantes para setenta.<a href="#ftn.idm317" class="footnote" name="idm317"><sup class="footnote">[21]</sup></a> Em todos
 701 esses países, o governo e a sociedade civil estão trabalhando juntos para
 702 desenvolver e implementar reformas ambiciosas de governo aberto. Os governos
 703 estão adotando cada vez mais a Creative Commons para garantir que as obras
 704 financiadas com os dólares dos contribuintes sejam abertas e livres ao
 705 público que as pagou.
 706       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>O Mercado em Mudança</h2></div></div></div><p>
 707         O mercado de hoje é amplamente impulsionado pelo capitalismo global. Os
 708 sistemas jurídicos e financeiros são estruturados para apoiar a extração, a
 709 privatização e o crescimento corporativo. A percepção de que o mercado é
 710 mais eficiente do que o estado levou à privatização contínua de muitos
 711 recursos naturais públicos, serviços públicos, serviços e
 712 infraestruturas.<a href="#ftn.idm324" class="footnote" name="idm324"><sup class="footnote">[22]</sup></a> Embora este sistema
 713 tenha sido altamente eficiente na geração de consumismo e no crescimento do
 714 produto interno bruto, o impacto no bem-estar humano foi misto. Compensando
 715 o aumento dos padrões de vida e as melhorias na saúde e na educação, estão
 716 sempre aumentando a desigualdade de riqueza, a desigualdade social, a
 717 pobreza, a deterioração de nosso ambiente natural e o colapso da
 718 democracia.<a href="#ftn.idm327" class="footnote" name="idm327"><sup class="footnote">[23]</sup></a>
 719       </p><p>
 720         Diante desses desafios, há um crescente reconhecimento de que o crescimento
 721 do PIB não deve ser um fim em si mesmo, que o desenvolvimento precisa ser
 722 social e economicamente inclusivo, que a sustentabilidade ambiental é um
 723 requisito, não uma opção, e que precisamos equilibrar melhor o mercado ,
 724 Estado e comunidade.<a href="#ftn.idm331" class="footnote" name="idm331"><sup class="footnote">[24]</sup></a>
 725       </p><p>
 726         Essas realizações levaram a um ressurgimento do interesse pelos comuns como
 727 meio de viabilizar esse equilíbrio. Prefeituras como Bolonha, na Itália,
 728 estão colaborando com seus cidadãos para estabelecer regulamentações para o
 729 cuidado e regeneração de comuns urbanos.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[25]</sup></a> Seul e Amsterdã se autodenominam <span class="quote">“<span class="quote">cidades
 730 compartilhadas</span>”</span>, buscando tornar mais sustentáveis e eficientes uso
 731 de recursos escassos. Eles veem o compartilhamento como uma forma de
 732 melhorar o uso dos espaços públicos, a mobilidade, a coesão social e a
 733 segurança.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[26]</sup></a>
 734       </p><p>
 735         O próprio mercado se interessou pela economia de compartilhamento, com
 736 empresas como o Airbnb fornecendo um mercado ponto a ponto para hospedagem
 737 de curto prazo e o Uber fornecendo uma plataforma para compartilhamento de
 738 caronas. No entanto, o Airbnb e o Uber ainda estão operando em grande parte
 739 sob as normas e regras usuais do mercado, tornando-os menos comuns e mais
 740 como uma empresa tradicional em busca de ganhos financeiros. Grande parte da
 741 economia compartilhada não trata dos comuns ou da construção de uma
 742 alternativa para uma economia de mercado impulsionada pelas corporações;
 743 trata-se de estender o mercado livre desregulamentado a novas áreas de
 744 nossas vidas.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[27]</sup></a> Embora nenhuma das
 745 pessoas que entrevistamos para nossos estudos de caso se descreva como parte
 746 da economia compartilhada, na verdade existem alguns paralelos
 747 significativos. Tanto a economia compartilhada quanto os comuns fazem melhor
 748 uso da capacidade dos ativos. A economia compartilhada vê residentes
 749 pessoais e carros como tendo capacidade ociosa latente com valor de
 750 aluguel. O acesso equitativo dos comuns amplia e diversifica o número de
 751 pessoas que podem usar e obter valor de um ativo.
 752       </p><p>
 753         Uma maneira que os estudos de caso do Feito com Creative Commons diferem
 754 daqueles da economia compartilhada é seu foco em recursos digitais. Os
 755 recursos digitais funcionam sob regras econômicas diferentes das físicas. Em
 756 um mundo onde os preços sempre parecem subir, a tecnologia da informação é
 757 uma anomalia. O poder de processamento do computador, o armazenamento e a
 758 largura de banda estão aumentando rapidamente, mas, em vez de os custos
 759 aumentarem, os custos estão diminuindo. As tecnologias digitais estão
 760 ficando mais rápidas, melhores e mais baratas. O custo de qualquer coisa
 761 construída sobre essas tecnologias sempre diminuirá até chegar perto de
 762 zero.<a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[28]</sup></a>
 763       </p><p>
 764         Aquelas que são feitas com Creative Commons procuram aproveitar as
 765 características inerentes exclusivas dos recursos digitais, incluindo a
 766 redução de custos. O uso de tecnologias de gerenciamento de direitos
 767 digitais na forma de bloqueios, senhas e controles para evitar que bens
 768 digitais sejam acessados, alterados, replicados e distribuídos é mínimo ou
 769 inexistente. Em vez disso, as licenças Creative Commons são usadas para
 770 disponibilizar conteúdo digital nos comuns, aproveitando a economia
 771 exclusiva associada a ser digital. O objetivo é ver os recursos digitais
 772 usados da forma mais ampla e pelo maior número de pessoas
 773 possível. Maximizar o acesso e a participação é um objetivo comum. Eles
 774 visam a abundância em vez da escassez.
 775       </p><p>
 776         O custo incremental de armazenamento, cópia e distribuição de bens digitais
 777 é próximo a zero, tornando a abundância possível. Mas imaginar um mercado
 778 baseado na abundância e não na escassez é tão estranho ao modo como
 779 concebemos a teoria e prática econômica que lutamos para
 780 fazê-lo.<a href="#ftn.idm355" class="footnote" name="idm355"><sup class="footnote">[29]</sup></a> Aqueles que são feitos com
 781 Creative Commons são, cada um, pioneiros neste novo cenário, criando seus
 782 próprios modelos e práticas econômicas.
 783       </p><p>
 784         Alguns buscam minimizar suas interações com o mercado e operar da forma mais
 785 autônoma possível. Outros estão operando principalmente como um negócio
 786 dentro das regras e normas existentes do mercado. E ainda outros estão
 787 procurando mudar as normas e regras pelas quais o mercado opera.
 788       </p><p>
 789         Para uma empresa comum, fazer do benefício social uma parte de suas
 790 operações é difícil, pois é legalmente exigido para tomar decisões que
 791 beneficiam financeiramente os acionistas. Mas novas formas de negócios estão
 792 surgindo. Existem corporações de benefícios e empresas sociais, que ampliam
 793 seus objetivos de negócios de gerar lucro para gerar um impacto positivo na
 794 sociedade, nos trabalhadores, na comunidade e no meio ambiente.<a href="#ftn.idm360" class="footnote" name="idm360"><sup class="footnote">[30]</sup></a> Empresas de propriedade da comunidade, empresas de
 795 propriedade dos trabalhadores, cooperativas, guildas e outras formas
 796 organizacionais oferecem alternativas à corporação
 797 tradicional. Coletivamente, essas entidades de mercado alternativas estão
 798 mudando as regras e normas do mercado.<a href="#ftn.idm363" class="footnote" name="idm363"><sup class="footnote">[31]</sup></a>
 799       </p><p><span class="quote">“<span class="quote">Um livro sobre modelos de negócios abertos</span>”</span> é como o
 800 descrevemos na campanha Kickstarter deste livro. Usamos um manual chamado
 801 <span class="emphasis"><em>Business Model Generation</em></span> como nossa referência para
 802 definir o que é um modelo de negócios. Desenvolvido ao longo de nove anos
 803 usando um <span class="quote">“<span class="quote">processo aberto</span>”</span> envolvendo 470 coautores de
 804 quarenta e cinco países, é útil como uma estrutura para falar sobre modelos
 805 de negócios <a href="#ftn.idm370" class="footnote" name="idm370"><sup class="footnote">[32]</sup></a>
 806       </p><p>
 807         Ele contém uma <span class="quote">“<span class="quote">tela de modelo de negócios </span>”</span>, que concebe um
 808 modelo de negócios como tendo nove blocos de construção.<a href="#ftn.idm376" class="footnote" name="idm376"><sup class="footnote">[33]</sup></a> Essa tela em branco pode servir como uma ferramenta
 809 para qualquer pessoa projetar seu próprio modelo de negócios. Remixamos essa
 810 tela de modelo de negócios em uma tela de modelo de negócios aberta,
 811 adicionando mais três blocos de construção relevantes para o mercado
 812 híbrido, empresas comuns: bem social, licença Creative Commons e <span class="quote">“<span class="quote">tipo
 813 de ambiente aberto em que a empresa se encaixa</span>”</span>.<a href="#ftn.idm380" class="footnote" name="idm380"><sup class="footnote">[34]</sup></a> Essa tela aprimorada provou ser útil quando
 814 analisamos empresas e ajudamos as start-ups a planejar seu modelo econômico.
 815       </p><p>
 816         Em nossas entrevistas de estudo de caso, muitos expressaram desconforto em
 817 se descreverem como um modelo de negócios aberto – o termo modelo de
 818 negócios sugeria principalmente estar situado no mercado. Sua posição no
 819 espectro de bens comuns ao mercado afeta até que ponto você se vê como uma
 820 empresa no mercado. Quanto mais importantes para a missão são os recursos
 821 compartilhados e os valores comuns, menos conforto há em se descrever ou
 822 descrever o que você faz como um negócio. Nem todos os que têm
 823 empreendimentos Feitos com Creative Commons falam de negócios; para alguns,
 824 o processo foi experimental, emergente e orgânico, em vez de cuidadosamente
 825 planejado usando um modelo predefinido.
 826       </p><p>
 827         Todos os criadores, empresas e organizações que definimos se envolvem com o
 828 mercado para gerar receita de alguma forma. As maneiras pelas quais isso é
 829 feito variam amplamente. Doações, pague o que puder, assinaturas,
 830 <span class="quote">“<span class="quote">digital de graça, mas físico por uma taxa</span>”</span>, crowdfunding,
 831 matchmaking, serviços de valor agregado, patrocinadores... A lista continua
 832 e continua. (Descrição inicial de como obter receita disponível por meio da
 833 nota de referência. Para as reflexões mais recentes, consulte Como trazer
 834 dinheiro na próxima seção.)<a href="#ftn.idm388" class="footnote" name="idm388"><sup class="footnote">[35]</sup></a> Não existe
 835 uma fórmula mágica única e cada empreendimento inventou maneiras que
 836 funcionem para eles. A maioria usa mais de uma maneira. A diversificação dos
 837 fluxos de receita reduz o risco e oferece vários caminhos para a
 838 sustentabilidade.
 839       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="benefits-of-the-digital-commons"></a>Benefícios do Comum Digital</h2></div></div></div><p>
 840         Embora possa estar claro por que as organizações baseadas em comuns desejam
 841 interagir e se envolver com o mercado (elas precisam de dinheiro para
 842 sobreviver), pode ser menos óbvio por que o mercado se envolveria com os
 843 comuns. Os comuns digitais oferecem muitos benefícios.
 844       </p><p>
 845         O comum acelera a disseminação. O fluxo livre de recursos nos comuns oferece
 846 enormes economias de escala. A distribuição é descentralizada, com todos
 847 aqueles que estão nos comuns com poderes para compartilhar os recursos aos
 848 quais têm acesso. Aqueles que são feitos com Creative Commons têm uma
 849 necessidade reduzida de vendas ou marketing. A distribuição descentralizada
 850 amplia a oferta e o <span class="emphasis"><em>know-how</em></span>.
 851       </p><p>
 852         O comum garante o acesso a todos. O mercado tem operado tradicionalmente
 853 colocando recursos atrás de um paywall, que exige o pagamento antes do
 854 acesso. O comum coloca recursos à vista, fornecendo acesso antecipado sem
 855 pagamento. Aqueles que são feitos com Creative Commons fazem pouco ou nenhum
 856 uso de gestão de direitos digitais (DRM) para gerenciar recursos. Não usar o
 857 DRM os libera dos custos de aquisição de tecnologia DRM e recursos de equipe
 858 para se envolver em práticas punitivas associadas à restrição de acesso. A
 859 maneira como os comuns fornecem acesso a todos nivela o campo de jogo e
 860 promove inclusão, equidade e justiça.
 861       </p><p>
 862         O comum maximiza a participação. Os recursos nos comuns podem ser usados e
 863 contribuídos por todos. Usar os recursos dos outros, contribuir com os seus
 864 e misturar os seus com outros para criar novas obras são formas dinâmicas de
 865 participação possibilitadas pelos comuns. Ser feito com Creative Commons
 866 significa que você está envolvendo o maior número possível de usuários com
 867 seus recursos. Os usuários também estão criando, editando, remixando,
 868 fazendo curadoria, localizando, traduzindo e distribuindo. Os comuns
 869 possibilitam que as pessoas participem diretamente da cultura, da construção
 870 do conhecimento e até da democracia e de muitas outras práticas socialmente
 871 benéficas.
 872       </p><p>
 873         Os comuns estimulam a inovação. Os recursos nas mãos de mais pessoas que
 874 podem usá-los levam a novas ideias. A maneira como os recursos comuns podem
 875 ser modificados, personalizados e melhores resultados em trabalhos derivados
 876 nunca imaginados pelo criador original. Alguns empreendimentos Feitos com
 877 Creative Commons encorajam deliberadamente os usuários a pegar os recursos
 878 que estão sendo compartilhados e inová-los. Isso move a pesquisa e o
 879 desenvolvimento (R&amp;D) de apenas dentro da organização para estar na
 880 comunidade.<a href="#ftn.idm400" class="footnote" name="idm400"><sup class="footnote">[36]</sup></a> A inovação baseada na
 881 comunidade manterá uma organização ou negócio em alerta. Deve continuar a
 882 contribuir com novas ideias, absorver e construir sobre as inovações dos
 883 outros e administrar os recursos e o relacionamento com a comunidade.
 884       </p><p>
 885         O comum aumenta o alcance e o impacto. O comum digital é global. Os recursos
 886 podem ser criados para uma necessidade local ou regional, mas eles vão longe
 887 e geram um impacto global. No mundo digital, não existem fronteiras entre
 888 países. Quando você é Feito com Creative Commons, geralmente é local e
 889 global ao mesmo tempo: designs digitais sendo distribuídos globalmente, mas
 890 feitos e fabricados localmente. Livros digitais ou música sendo distribuídos
 891 globalmente, mas leituras e shows realizados localmente. O comum digital
 892 amplia o impacto ao conectar os criadores com aqueles que usam e desenvolvem
 893 sua obra local e globalmente.
 894       </p><p>
 895         O comum é gerador. Em vez de extrair valor, o comum agrega valor. Os
 896 recursos digitalizados persistem sem se esgotarem e, com o uso, são
 897 aprimorados, personalizados e localizados. Cada uso agrega valor. O mercado
 898 tem como foco a geração de valor para o negócio e para o cliente. Os comuns
 899 geram valor para uma gama mais ampla de beneficiários, incluindo a empresa,
 900 o cliente, o criador, o público e os próprios comuns. A natureza generativa
 901 dos comuns significa que é mais econômico e produz um maior retorno sobre o
 902 investimento. O valor não é medido apenas em termos financeiros. Cada novo
 903 recurso adicionado aos comuns fornece valor ao público e contribui para o
 904 valor geral dos comuns.
 905       </p><p>
 906         Os comuns unem as pessoas por uma causa comum. Os comuns conferem às pessoas
 907 a responsabilidade direta de administrar os recursos para o bem comum. Os
 908 custos e benefícios para o indivíduo são equilibrados com os custos e
 909 benefícios para a comunidade e para as gerações futuras. Os recursos não são
 910 anônimos ou produzidos em massa. Sua proveniência é conhecida e reconhecida
 911 por meio de atribuição e outros meios. Aqueles que são Feitos com Creative
 912 Commons geram consciência e reputação com base em suas contribuições para os
 913 comuns. O alcance, o impacto e a sustentabilidade dessas contribuições
 914 dependem em grande parte de sua capacidade de estabelecer relacionamentos e
 915 conexões com aqueles que as usam e melhoram. Ao funcionar com base no
 916 engajamento social, não na troca monetária, os comuns unificam as pessoas.
 917       </p><p>
 918         Os benefícios dos comuns são muitos. Quando esses benefícios se alinham com
 919 os objetivos dos indivíduos, comunidades, negócios no mercado ou empresas
 920 estatais, a escolha de administrar recursos como os comuns deve ser a melhor
 921 opção.
 922       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="our-case-studies"></a>Nossos estudos de caso</h2></div></div></div><p>
 923         Os criadores, organizações e empresas em nossos estudos de caso operam como
 924 organizações sem fins lucrativos, com fins lucrativos e empresas
 925 sociais. Independentemente do status legal, todos eles têm uma missão
 926 social. A principal razão de sua existência é tornar o mundo um lugar
 927 melhor, sem fins lucrativos. O dinheiro é um meio para um fim social, não o
 928 fim em si. Eles fatoram o interesse público nas decisões, comportamento e
 929 práticas. Transparência e confiança são muito importantes. O impacto e o
 930 sucesso são medidos em relação aos objetivos sociais expressos nas
 931 declarações de missão e não se referem apenas aos resultados financeiros.
 932       </p><p>
 933         Os estudos de caso são baseados nas narrativas contadas a nós por fundadores
 934 e funcionários principais. Em vez de usar apenas finanças como medida de
 935 sucesso e sustentabilidade, eles enfatizaram sua missão, práticas e meios
 936 pelos quais medem o sucesso. As métricas de sucesso são uma mistura de como
 937 as metas sociais estão sendo atendidas e o quão sustentável é a empresa.
 938       </p><p>
 939         Nossos estudos de caso são diversos, abrangendo desde publicação até
 940 educação e manufatura. Todas as organizações, empresas e criadores nos
 941 estudos de caso produzem recursos digitais. Esses recursos existem em muitas
 942 formas, incluindo livros, designs, canções, pesquisas, dados, obras
 943 culturais, materiais educacionais, ícones gráficos e vídeo. Alguns são
 944 representações digitais de recursos físicos. Outros nascem digitais, mas
 945 podem ser transformados em recursos físicos.
 946       </p><p>
 947         Eles estão criando novos recursos, ou usando os recursos de outras pessoas,
 948 ou combinando recursos existentes para fazer algo novo. Eles, e seu público,
 949 todos desempenham um papel direto e participativo no gerenciamento desses
 950 recursos, incluindo sua preservação, curadoria, distribuição e
 951 aprimoramento. O acesso e a participação estão abertos a todos,
 952 independentemente dos meios monetários.
 953       </p><p>
 954         E como usuários de licenças Creative Commons, eles automaticamente fazem
 955 parte de uma comunidade global. Os novos comuns digitais são
 956 globais. Aqueles que traçamos vêm de quase todos os continentes do
 957 mundo. Construir e interagir dentro desta comunidade global conduz ao
 958 sucesso.
 959       </p><p>
 960         As licenças Creative Commons podem expressar regras legais sobre o uso de
 961 recursos nos comuns, mas o sucesso nos comuns requer mais do que seguir a
 962 letra da lei e obter meios financeiros. Repetidamente, ouvimos em nossas
 963 entrevistas como o sucesso e a sustentabilidade estão vinculados a um
 964 conjunto de crenças, valores e princípios que fundamentam suas ações: Dê
 965 mais do que recebe. Seja aberto e inclusivo. Adicionar valor. Torne visível
 966 o que você está usando dos comuns, o que você está adicionando e o que está
 967 monetizando. Maximize a abundância. Dê atribuição. Expressar
 968 gratidão. Desenvolva confiança; não explore. Construa relacionamento e
 969 comunidade. Seja transparente. Defenda os comuns.
 970       </p><p>
 971         Os novos comuns digitais estão aqui para ficar. Os estudos de caso de Feito
 972 com Creative Commons mostram como é possível fazer parte desses comuns
 973 enquanto ainda funciona dentro dos sistemas de mercado e estaduais. Os
 974 comuns geram benefícios que nem o mercado nem o estado podem alcançar por
 975 conta própria. Em vez de o mercado ou estado dominar como meio principal de
 976 gestão de recursos, uma alternativa mais equilibrada é possível.
 977       </p><p>
 978         O uso empresarial do Creative Commons apenas começou. Os estudos de caso
 979 neste livro são apenas pontos de partida. Cada um está mudando e evoluindo
 980 com o tempo. Muitos mais estão se juntando e inventando novos modelos. Esta
 981 visão geral tem como objetivo fornecer uma estrutura e uma linguagem para
 982 pensar e falar sobre os novos comuns digitais. As seções restantes são
 983 aprofundadas, fornecendo mais orientações e percepções sobre como funciona.
 984       </p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm112" class="footnote"><p><a href="#idm112" class="para"><sup class="para">[1] </sup></a>
 985           Jonathan Rowe, <span class="emphasis"><em>Our Common Wealth</em></span> (San Francisco:
 986 Berrett-Koehler, 2013), 14.
 987         </p></div><div id="ftn.idm117" class="footnote"><p><a href="#idm117" class="para"><sup class="para">[2] </sup></a>
 988           David Bollier, <span class="emphasis"><em>Think Like a Commoner: A Short Introduction to the
 989 Life of the Commons</em></span> (Gabriola Island, BC: New Society, 2014),
 990 176.
 991         </p></div><div id="ftn.idm120" class="footnote"><p><a href="#idm120" class="para"><sup class="para">[3] </sup></a>
 992           <span class="emphasis"><em>Ibid</em></span>., 15.
 993         </p></div><div id="ftn.idm126" class="footnote"><p><a href="#idm126" class="para"><sup class="para">[4] </sup></a>
 994             <span class="emphasis"><em>Ibid</em></span>., 145.
 995           </p></div><div id="ftn.idm130" class="footnote"><p><a href="#idm130" class="para"><sup class="para">[5] </sup></a>
 996             <span class="emphasis"><em>Ibid</em></span>., 175.
 997           </p></div><div id="ftn.idm149" class="footnote"><p><a href="#idm149" class="para"><sup class="para">[6] </sup></a>
 998             Daniel H. Cole, <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from the
 999 Natural Commons for the Knowledge Commons</span>”</span>, em <span class="emphasis"><em>Governing
1000 Knowledge Commons</em></span>, eds. Brett M. Frischmann, Michael J. Madison e
1001 Katherine J. Strandburg (Nova York: Oxford University Press, 2014), 53.
1002           </p></div><div id="ftn.idm177" class="footnote"><p><a href="#idm177" class="para"><sup class="para">[7] </sup></a>
1003               Max Haiven, <span class="emphasis"><em>Crises of Imagination, Crises of Power: Capitalism,
1004 Creativity and the Commons</em></span> (Nova York: Zed Books, 2014), 93.
1005             </p></div><div id="ftn.idm193" class="footnote"><p><a href="#idm193" class="para"><sup class="para">[8] </sup></a>
1006               Bollier, <span class="emphasis"><em>Think Like a Commoner</em></span>, 175.
1007             </p></div><div id="ftn.idm200" class="footnote"><p><a href="#idm200" class="para"><sup class="para">[9] </sup></a>
1008               Joshua Farley e Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of Information in a
1009 Post-Carbon Economy</span>”</span> em <span class="emphasis"><em>Free Knowledge: Confronting the
1010 Commodification of Human Discovery</em></span>, eds. Patricia W. Elliott e
1011 Daryl H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
1012             </p></div><div id="ftn.idm212" class="footnote"><p><a href="#idm212" class="para"><sup class="para">[10] </sup></a>
1013             Rowe, <span class="emphasis"><em>Our Common Wealth</em></span>, 19; e Heather Menzies,
1014 <span class="emphasis"><em>Reclaiming the Commons for the Common Good: A Memoir and
1015 Manifesto</em></span> (Gabriola Island, BC: New Society, 2014), 42–43.
1016           </p></div><div id="ftn.idm225" class="footnote"><p><a href="#idm225" class="para"><sup class="para">[11] </sup></a>
1017             Bollier, <span class="emphasis"><em>Think Like a Commoner</em></span>, 55–78.
1018           </p></div><div id="ftn.idm229" class="footnote"><p><a href="#idm229" class="para"><sup class="para">[12] </sup></a>
1019             Fritjof Capra e Ugo Mattei, <span class="emphasis"><em>The Ecology of Law: Toward a Legal
1020 System in Tune with Nature and Community</em></span> (Oakland, CA:
1021 Berrett-Koehler, 2015), 46–57; e Bollier, <span class="emphasis"><em>Think Like a
1022 Commoner</em></span>, 88.
1023           </p></div><div id="ftn.idm248" class="footnote"><p><a href="#idm248" class="para"><sup class="para">[13] </sup></a>
1024             Brett M. Frischmann, Michael J. Madison e Katherine J. Strandburg,
1025 <span class="quote">“<span class="quote">Governing Knowledge Commons</span>”</span>, em Frischmann, Madison e
1026 Strandburg, <span class="emphasis"><em>Governing Knowledge Commons</em></span>, 12.
1027           </p></div><div id="ftn.idm254" class="footnote"><p><a href="#idm254" class="para"><sup class="para">[14] </sup></a>
1028             Farley e Kubiszewski, <span class="quote">“<span class="quote">Economics of Information</span>”</span>, em Elliott y
1029 Hepting, <span class="emphasis"><em>Free Knowledge</em></span>, 203.
1030           </p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[15] </sup></a><span class="quote">“<span class="quote">O que é software livre?</span>”</span> Sistema operacional GNU, o
1031 Laboratório de licenciamento e conformidade da Free Software Foundation,
1032 acessado em 30 de dezembro de 2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
1033               </p></div><div id="ftn.idm284" class="footnote"><p><a href="#idm284" class="para"><sup class="para">[16] </sup></a>
1034             Wikipédia, s.v. <span class="quote">“<span class="quote">Open-source software</span>”</span>, última modificação em
1035 22 de novembro de 2016.
1036           </p></div><div id="ftn.idm289" class="footnote"><p><a href="#idm289" class="para"><sup class="para">[17] </sup></a>
1037             Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron</span>”</span>, em <span class="emphasis"><em>The
1038 Cathedral and the Bazaar: Musings on Linux and Open Source by an Accidental
1039 Revolutionary</em></span>, rev. ed. Sebastopol, CA: O’Reilly Media, 2001,
1040 <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
1041           </p></div><div id="ftn.idm296" class="footnote"><p><a href="#idm296" class="para"><sup class="para">[18] </sup></a>
1042             New York Times Customer Insight Group, <span class="emphasis"><em>The Psychology of Sharing:
1043 Why Do People Share Online?</em></span> (Nova York: New York Times Customer
1044 Insight Group, 2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
1045           </p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations</span>”</span>, Creative Commons, acessado em 30 de
1046 dezembro de 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
1047           </p></div><div id="ftn.idm310" class="footnote"><p><a href="#idm310" class="para"><sup class="para">[20] </sup></a>
1048             Creative Commons, <span class="emphasis"><em>2015 State of the Commons</em></span> (Mountain
1049 View, CA: Creative Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
1050           </p></div><div id="ftn.idm317" class="footnote"><p><a href="#idm317" class="para"><sup class="para">[21] </sup></a>
1051             Wikipédia, s.v. <span class="quote">“<span class="quote">Open Government Partnership</span>”</span>, última
1052 modificação em 24 de setembro de 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
1053           </p></div><div id="ftn.idm324" class="footnote"><p><a href="#idm324" class="para"><sup class="para">[22] </sup></a>
1054             Capra e Mattei, <span class="emphasis"><em>Ecology of Law</em></span>, 114.
1055           </p></div><div id="ftn.idm327" class="footnote"><p><a href="#idm327" class="para"><sup class="para">[23] </sup></a>
1056             <span class="emphasis"><em>Ibid</em></span>., 116.
1057           </p></div><div id="ftn.idm331" class="footnote"><p><a href="#idm331" class="para"><sup class="para">[24] </sup></a>
1058             A Agência Sueca de Cooperação para o Desenvolvimento Internacional,
1059 <span class="quote">“<span class="quote">Stockholm Statement</span>”</span> acessada em 15 de fevereiro de 2017,
1060 <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
1061           </p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[25] </sup></a>
1062             Cidade de Bolonha, <span class="emphasis"><em>Regulation on Collaboration between Citizens
1063 and the City for the Care and Regeneration of Urban Commons</em></span>,
1064 trans. LabGov (LABoratory for the GOVernance of Commons) (Bolonha, Itália:
1065 Cidade de Bolonha, 2014), <a class="ulink" href="http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf" target="_top">http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf</a>.
1066           </p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[26] </sup></a>
1067             O site de Seoul Sharing City website é <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>; para Amsterdam Sharing City, acesse
1068 <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
1069           </p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[27] </sup></a>
1070             Tom Slee, <span class="emphasis"><em>What’s Yours Is Mine: Against the Sharing
1071 Economy</em></span> (Nova York: OR Books, 2015), 42.
1072           </p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[28] </sup></a>
1073             Chris Anderson, <span class="emphasis"><em>Free: How Today’s Smartest Businesses Profit by
1074 Giving Something for Nothing</em></span>, reimpressão com novo
1075 prefácio. (Nova York: Hyperion, 2010), 78.
1076           </p></div><div id="ftn.idm355" class="footnote"><p><a href="#idm355" class="para"><sup class="para">[29] </sup></a>
1077             Jeremy Rifkin, <span class="emphasis"><em>The Zero Marginal Cost Society: The Internet of
1078 Things, the Collaborative Commons, and the Eclipse of Capitalism</em></span>
1079 (Nova York: Palgrave Macmillan, 2014) , 273.
1080           </p></div><div id="ftn.idm360" class="footnote"><p><a href="#idm360" class="para"><sup class="para">[30] </sup></a>
1081             Gar Alperovitz, <span class="emphasis"><em>What Then Must We Do? Straight Talk about the Next
1082 American Revolution: Democratizing Wealth and Building a
1083 Community-Sustaining Economy from the Ground Up</em></span> (White River
1084 Junction, VT: Chelsea Green, 2013), 39.
1085           </p></div><div id="ftn.idm363" class="footnote"><p><a href="#idm363" class="para"><sup class="para">[31] </sup></a>
1086             Marjorie Kelly, <span class="emphasis"><em>Owning Our Future: The Emerging Ownership
1087 Revolution; Journeys to a Generative Economy</em></span> (São Francisco:
1088 Berrett-Koehler, 2012), 8–9.
1089           </p></div><div id="ftn.idm370" class="footnote"><p><a href="#idm370" class="para"><sup class="para">[32] </sup></a>
1090             Alex Osterwalder e Yves Pigneur, <span class="emphasis"><em>Business Model
1091 Generation</em></span> (Hoboken, NJ: John Wiley and Sons, 2010). Uma
1092 pré-visualização do livro está disponível em <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
1093           </p></div><div id="ftn.idm376" class="footnote"><p><a href="#idm376" class="para"><sup class="para">[33] </sup></a>
1094             Esta tela de modelo de negócios está disponível para download em <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
1095           </p></div><div id="ftn.idm380" class="footnote"><p><a href="#idm380" class="para"><sup class="para">[34] </sup></a>
1096             Fizemos o <span class="quote">“<span class="quote">Open Business Model Canvas</span>”</span>, projetado pelo co-autor
1097 Paul Stacey, disponível online em <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
1098 Você também pode encontrar as perguntas do Open Business Model Canvas em
1099 <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1100           </p></div><div id="ftn.idm388" class="footnote"><p><a href="#idm388" class="para"><sup class="para">[35] </sup></a>
1101             Uma lista mais abrangente de fluxos de receita está disponível neste post
1102 que escrevi no Medium em 6 de março de 2016. <span class="quote">“<span class="quote">What Is an Open Business
1103 Model and How Can You Generate Revenue?</span>”</span>, disponível em <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
1104           </p></div><div id="ftn.idm400" class="footnote"><p><a href="#idm400" class="para"><sup class="para">[36] </sup></a>
1105             Henry Chesbrough, <span class="emphasis"><em>Open Innovation: The New Imperative for Creating
1106 and Profiting from Technology</em></span> (Boston: Harvard Business Review
1107 Press, 2006), 31–44.
1108           </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Capítulo 2. Como ser Feito com Creative Commons</h2></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
1109     \textit{ Sarah Hinchliff Pearson}
1110     \end{flushright}</td></tr></table></div><p>
1111       Quando iniciamos este projeto em agosto de 2015, decidimos escrever um livro
1112 sobre modelos de negócios que envolvem licenças Creative Commons de alguma
1113 forma significativa -- o que chamamos de ser Feito com Creative Commons. Com
1114 a ajuda de nossos patrocinadores do Kickstarter, escolhemos vinte e quatro
1115 empreendimentos em todo o mundo que são Feitos com Creative Commons. A
1116 mistura é diversa, de um músico individual a uma editora universitária de
1117 livros didáticos a um fabricante de eletrônicos. Alguns fazem seu próprio
1118 conteúdo e compartilham sob licença Creative Commons. Outros são plataformas
1119 para obras criativas com licença CC feitos por terceiros. Muitos ficam em
1120 algum ponto intermediário, usando e contribuindo com a obra criativa que é
1121 compartilhada com o público. Como todos os que usam as licenças, esses
1122 empreendimentos compartilham sua obra -- sejam dados abertos ou designs de
1123 móveis -- de uma forma que permite ao público não apenas acessá-la, mas
1124 também utilizá-la.
1125     </p><p>
1126       Analisamos os modelos de receita, segmentos de clientes e propostas de valor
1127 de cada empreendimento. Procuramos maneiras de colocar seu conteúdo sob
1128 licenças Creative Commons para ajudar a impulsionar as vendas ou aumentar o
1129 alcance. Usando medidas tradicionais de sucesso econômico, tentamos mapear
1130 esses modelos de negócios de uma forma que incorporasse significativamente o
1131 impacto do Creative Commons. Em nossas entrevistas, investigamos as
1132 motivações, o papel das licenças CC, os modos de geração de receita e as
1133 definições de sucesso.
1134     </p><p>
1135       Em pouco tempo, percebemos que o livro que começamos a escrever era bem
1136 diferente daquele que estava se revelando em nossas entrevistas e pesquisas.
1137     </p><p>
1138       Não é que estivéssemos errados ao pensar que você pode ganhar dinheiro
1139 usando licenças Creative Commons. Em muitos casos, o CC pode ajudar você a
1140 ganhar mais dinheiro. Tampouco erramos ao dizer que existem modelos de
1141 negócios que outras pessoas que desejam usar o licenciamento CC como parte
1142 de seu sustento ou negócio poderiam replicar. O que não percebemos foi o
1143 quão equivocado seria escrever um livro sobre ser Feito com Creative Commons
1144 usando apenas lentes de negócios.
1145     </p><p>
1146       De acordo com o manual seminal Business Model Generation, um modelo de
1147 negócios <span class="quote">“<span class="quote">descreve a lógica de como uma organização cria, entrega e
1148 captura valor.</span>”</span><a href="#ftn.idm428" class="footnote" name="idm428"><sup class="footnote">[37]</sup></a> Pensar em
1149 compartilhar em termos de criação e captura de valor sempre pareceu
1150 inadequadamente transacional e deslocado, algo que ouvimos repetidamente em
1151 nossas entrevistas. E como Cory Doctorow nos disse em nossa entrevista com
1152 ele, <span class="quote">“<span class="quote">Modelo de negócios pode significar qualquer coisa que você
1153 quiser</span>”</span>.
1154     </p><p>
1155       Eventualmente, nós conseguimos. Ser Feito com Creative Commons é mais do que
1156 um modelo de negócios. Embora falemos sobre modelos de receita específicos
1157 como uma parte de nossa análise (e com mais detalhes nos estudos de caso),
1158 descartamos isso como nossa rubrica orientadora para o livro.
1159     </p><p>
1160       Reconheço que demorei muito para chegar lá. Quando Paul e eu dividimos nossa
1161 redação depois de terminar a pesquisa, minha incumbência era destilar tudo o
1162 que aprendemos com os estudos de caso e escrever as lições práticas e
1163 resultados. Passei meses tentando colocar o que aprendemos na caixa do
1164 modelo de negócios, convencido de que deve haver alguma fórmula para a forma
1165 como as coisas interagem. Mas não existe fórmula. Você provavelmente terá
1166 que descartar essa maneira de pensar antes de continuar a ler.
1167     </p><p>
1168       Em todas as entrevistas, partimos das mesmas perguntas simples. Em meio a
1169 toda a diversidade entre os criadores, organizações e empresas que traçamos
1170 o perfil, havia uma constante. Ser Feito com Creative Commons pode ser bom
1171 para os negócios, mas não é por isso que o fazem. Compartilhar a obra com o
1172 Creative Commons é, em sua essência, uma decisão moral. Os benefícios
1173 comerciais e outros benefícios de interesse próprio são secundários. A
1174 maioria decidiu usar licenças CC primeiro e encontrou um modelo de receita
1175 depois. Essa foi nossa primeira dica de que escrever um livro exclusivamente
1176 sobre o impacto do compartilhamento nos negócios pode estar um pouco fora do
1177 caminho.
1178     </p><p>
1179       Mas também começamos a perceber algo sobre o que significa ser Feito com
1180 Creative Commons. Quando as pessoas nos falaram sobre como e por que usaram
1181 CC, ficou claro que significava algo mais do que usar uma licença de
1182 copyright. Também representou um conjunto de valores. Existe um simbolismo
1183 por trás do uso de CC, e esse simbolismo tem muitas camadas.
1184     </p><p>
1185       Em um nível, ser Feito com Creative Commons expressa uma afinidade com o
1186 valor do Creative Commons. Embora existam muitos sabores diferentes de
1187 licenças CC e maneiras quase infinitas de ser Feito com Creative Commons, o
1188 sistema de valores básico está enraizado em uma crença fundamental de que o
1189 conhecimento e a criatividade são blocos de construção de nossa cultura, e
1190 não apenas mercadorias das quais extrair valor de mercado. Esses valores
1191 refletem a crença de que o bem comum deve sempre fazer parte da equação
1192 quando determinamos como regular nossos resultados culturais. Eles refletem
1193 a crença de que todos têm algo a contribuir e que ninguém pode ser dono de
1194 nossa cultura compartilhada. Eles refletem a crença na promessa de
1195 compartilhar.
1196     </p><p>
1197       Quer o público aproveite a oportunidade para copiar e adaptar sua obra,
1198 compartilhar com uma licença Creative Commons é um símbolo de como você
1199 deseja interagir com as pessoas que consomem sua oba. Sempre que você cria
1200 algo, <span class="quote">“<span class="quote">todos os direitos reservados</span>”</span> sob direitos autorais são
1201 automáticos, portanto, o símbolo de copyright (©) na obra não
1202 necessariamente aparece como um marcador de desconfiança ou protecionismo
1203 excessivo. Mas usar uma licença CC pode ser um símbolo do oposto -- de
1204 querer um relacionamento humano real, ao invés de uma transação de mercado
1205 impessoal. Deixa aberta a possibilidade de conexão.
1206     </p><p>
1207       Sendo Feito com Creative Commons não apenas demonstra valores ligados a CC e
1208 compartilhamento. Também demonstra que algo diferente do lucro impulsiona o
1209 que você faz. Em nossas entrevistas, sempre perguntamos como era o sucesso
1210 para eles(as). Era impressionante como raramente se mencionava dinheiro. A
1211 maioria tem um propósito mais profundo e uma visão diferente de sucesso.
1212     </p><p>
1213       A motivação motriz varia dependendo do tipo de empreendimento. Para
1214 criadores individuais, geralmente é uma questão de inspiração pessoal. De
1215 certa forma, isso não é novidade. Como Doctorow escreveu, <span class="quote">“<span class="quote">Os
1216 criadores geralmente começam a fazer o que fazem por
1217 amor.</span>”</span><a href="#ftn.idm443" class="footnote" name="idm443"><sup class="footnote">[38]</sup></a> Mas quando você
1218 compartilha sua obra criativa sob uma licença CC, essa dinâmica é ainda mais
1219 pronunciada. Da mesma forma, para os inovadores tecnológicos, geralmente se
1220 trata menos de criar algo novo específico que o tornará rico e mais de
1221 resolver um problema específico que você tem. Os criadores do Arduino nos
1222 disseram que a questão chave ao criar algo é <span class="quote">“<span class="quote">Você, como criador,
1223 deseja usá-lo? Deve ter uso e significado pessoal.</span>”</span>
1224     </p><p>
1225       Muitos dos que são Feitos com Creative Commons têm uma missão social
1226 expressa que sustenta tudo o que eles fazem. Em muitos casos, compartilhar
1227 com Creative Commons avança expressamente essa missão social, e usar as
1228 licenças pode ser a diferença entre legitimidade e hipocrisia. O cofundador
1229 do Noun Project, Edward Boatman, nos disse que eles não poderiam ter
1230 declarado sua missão social de compartilhar com uma cara séria se não
1231 estivessem dispostos a mostrar ao mundo que não havia problema em
1232 compartilhar seu conteúdo usando uma licença Creative Commons.
1233     </p><p>
1234       Essa dinâmica é provavelmente um dos motivos pelos quais existem tantos
1235 exemplos de organizações sem fins lucrativos feitos com Creative Commons. O
1236 conteúdo é o resultado de uma obra de amor ou de uma ferramenta para
1237 impulsionar a mudança social, e o dinheiro é como a gasolina no carro, algo
1238 que você precisa para continuar, mas não é um fim em si mesmo. Sendo Feito
1239 com Creative Commons é uma visão diferente de um negócio ou meio de vida,
1240 onde o lucro não é primordial e a produção de bem social e conexão humana
1241 são essenciais para o sucesso.
1242     </p><p>
1243       Mesmo que o lucro não seja o objetivo final, você tem que trazer dinheiro
1244 para ser Feito com Creative Commons com sucesso. No mínimo, você tem que
1245 ganhar dinheiro suficiente para manter as luzes acesas.
1246     </p><p>
1247       Os custos de fazer negócios variam amplamente para aqueles feitos com CC,
1248 mas geralmente há um limite muito mais baixo para a sustentabilidade do que
1249 costumava haver para qualquer empreendimento criativo. A tecnologia digital
1250 tornou mais fácil do que nunca criar e distribuir. Como Doctorow colocou em
1251 seu livro <span class="emphasis"><em>Information Doesn't Want to Be Free</em></span>,
1252 <span class="quote">“<span class="quote">Se os dólares analógicos se transformaram em moedas digitais (como
1253 dizem os críticos da mídia financiada por anúncios), há o fato de que é
1254 possível fazer funcionar uma empresa que obtém a mesma quantidade de
1255 publicidade que seus ancestrais por uma fração do preço.</span>”</span>
1256     </p><p>
1257       Alguns custos de criação são os mesmos de sempre. Leva a mesma quantidade de
1258 tempo e dinheiro para escrever um artigo de jornal revisado por pares ou
1259 pintar um quadro. A tecnologia não pode mudar isso. Mas outros custos são
1260 reduzidos drasticamente pela tecnologia, particularmente em domínios de
1261 produção pesada como cinema.<a href="#ftn.idm453" class="footnote" name="idm453"><sup class="footnote">[39]</sup></a> Conteúdo
1262 licenciado por CC e conteúdo de domínio público, bem como a oba de
1263 colaboradores voluntários, também podem reduzir drasticamente os custos se
1264 forem sendo usados como recursos para criar algo novo. E, claro, existe a
1265 realidade de que algum conteúdo seria criado, independentemente de o criador
1266 ser pago ou não, porque é um trabalho de amor.
1267     </p><p>
1268       Distribuir conteúdo é quase universalmente mais barato do que nunca. Uma vez
1269 que o conteúdo é criado, os custos para distribuir cópias digitalmente são
1270 essencialmente zero.<a href="#ftn.idm456" class="footnote" name="idm456"><sup class="footnote">[40]</sup></a> Os custos para
1271 distribuir cópias físicas ainda são significativos, mas menores do que eram
1272 historicamente. E agora é muito mais fácil imprimir e distribuir cópias
1273 físicas sob demanda, o que também reduz custos. Dependendo do esforço, pode
1274 haver uma série de outras despesas possíveis, como marketing e promoção, e
1275 até despesas associadas às várias maneiras como o dinheiro está sendo ganho,
1276 como viagens ou treinamento personalizado.
1277     </p><p>
1278       É importante reconhecer que o maior impacto da tecnologia nos
1279 empreendimentos criativos é que os criadores agora podem arcar com os custos
1280 de criação e distribuição sozinhos. As pessoas agora costumam ter um caminho
1281 direto para seu público potencial, sem necessariamente precisar de
1282 intermediários como gravadoras e editoras de livros. Doctorow escreveu:
1283 <span class="quote">“<span class="quote">Se você é um criador que nunca obteve a hora de uma das grandes
1284 potências imperiais, esta é a sua hora. Onde antes você não tinha meios de
1285 alcançar um público sem a ajuda das megaempresas dominantes do setor, agora
1286 você tem centenas de maneiras de fazer isso sem eles.</span>”</span><a href="#ftn.idm461" class="footnote" name="idm461"><sup class="footnote">[41]</sup></a> Anteriormente, a distribuição de obra criativa
1287 envolvia os custos associados à manutenção uma entidade monolítica, agora os
1288 criadores podem fazer a obra sozinhos. Isso significa que as necessidades
1289 financeiras de empreendimentos criativos podem ser muito mais modestas.
1290     </p><p>
1291       Seja para um criador individual ou um empreendimento maior, geralmente não é
1292 suficiente para quebrar, mesmo se você quiser fazer do que está fazendo um
1293 meio de vida. Você precisa construir algum suporte para a operação
1294 geral. Este bit extra parece diferente para todos, mas o mais importante, em
1295 quase todos os casos para aqueles Feitos com Creative Commons, a definição
1296 de <span class="quote">“<span class="quote">dinheiro suficiente</span>”</span> parece muito diferente do que no mundo
1297 de capital de risco e opções de ações. É mais sobre sustentabilidade e menos
1298 sobre crescimento e lucro ilimitados. O fundador do SparkFun, Nathan Seidle,
1299 nos disse, <span class="quote">“<span class="quote">Modelo de negócios é uma palavra realmente grandiosa para
1300 isso. Na verdade, trata-se apenas de manter a operação funcionando no dia a
1301 dia.</span>”</span>
1302     </p><p>
1303       Este livro é uma prova da noção de que é possível ganhar dinheiro usando
1304 licenças CC e conteúdo licenciado CC, mas ainda estamos em um estágio muito
1305 experimental. Os criadores, organizações e empresas que apresentamos neste
1306 livro estão abrindo caminho e se adaptando em tempo real à medida que buscam
1307 essa nova forma de operar.
1308     </p><p>
1309       Existem, no entanto, muitas maneiras pelas quais o licenciamento CC pode ser
1310 bom para os negócios de maneiras bastante previsíveis. A primeira é como ele
1311 ajuda a resolver <span class="quote">“<span class="quote">o problema zero</span>”</span>.
1312     </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
1313         Once you create or collect your content, the next step is finding users,
1314 customers, fans—in other words, your people. As Amanda Palmer wrote,
1315 <span class="quote">“<span class="quote">It has to start with the art. The songs had to touch people
1316 initially, and mean something, for anything to work at
1317 all.</span>”</span><a href="#ftn.idm474" class="footnote" name="idm474"><sup class="footnote">[42]</sup></a> There isn’t any magic to
1318 finding your people, and there is certainly no formula. Your work has to
1319 connect with people and offer them some artistic and/or utilitarian
1320 value. In some ways, this is easier than ever. Online we are not limited by
1321 shelf space, so there is room for every obscure interest, taste, and need
1322 imaginable. This is what Chris Anderson dubbed the Long Tail, where
1323 consumption becomes less about mainstream mass <span class="quote">“<span class="quote">hits</span>”</span> and more
1324 about micromarkets for every particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We
1325 are all different, with different wants and needs, and the Internet now has
1326 a place for all of them in the way that physical markets did
1327 not.</span>”</span><a href="#ftn.idm478" class="footnote" name="idm478"><sup class="footnote">[43]</sup></a> We are no longer limited
1328 to what appeals to the masses.
1329       </p><p>
1330         While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically easier than
1331 in the analog world, as a practical matter it can still be difficult to
1332 actually get noticed. The Internet is a firehose of content, one that only
1333 grows larger by the minute.  As a content creator, not only are you
1334 competing for attention against more content creators than ever before, you
1335 are competing against creativity generated outside the market as
1336 well.<a href="#ftn.idm482" class="footnote" name="idm482"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The
1337 greatest change of the past decade has been the shift in time people spend
1338 consuming amateur content instead of professional
1339 content.</span>”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[45]</sup></a> To top it all off, you
1340 have to compete against the rest of their lives, too—<span class="quote">“<span class="quote">friends, family,
1341 music playlists, soccer games, and nights on the town.</span>”</span><a href="#ftn.idm488" class="footnote" name="idm488"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
1342 right people.
1343       </p><p>
1344         When you come to the Internet armed with an all-rights-reserved mentality
1345 from the start, you are often restricting access to your work before there
1346 is even any demand for it. In many cases, requiring payment for your work is
1347 part of the traditional copyright system. Even a tiny cost has a big effect
1348 on demand.  It’s called the penny gap—the large difference in demand between
1349 something that is available at the price of one cent versus the price of
1350 zero.<a href="#ftn.idm491" class="footnote" name="idm491"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
1351 charge money for your content. It simply means you need to recognize the
1352 effect that doing so will have on demand. The same principle applies to
1353 restricting access to copy the work. If your problem is how to get
1354 discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting people from
1355 copying your work and sharing it with others is counterproductive.
1356       </p><p>
1357         Of course, it’s not that being discovered by people who like your work will
1358 make you rich—far from it. But as Cory Doctorow says, <span class="quote">“<span class="quote">Recognition is
1359 one of many necessary preconditions for artistic
1360 success.</span>”</span><a href="#ftn.idm496" class="footnote" name="idm496"><sup class="footnote">[48]</sup></a>
1361       </p><p>
1362         Choosing not to spend time and energy restricting access to your work and
1363 policing infringement also builds goodwill. Lumen Learning, a for-profit
1364 company that publishes online educational materials, made an early decision
1365 not to prevent students from accessing their content, even in the form of a
1366 tiny paywall, because it would negatively impact student success in a way
1367 that would undermine the social mission behind what they do. They believe
1368 this decision has generated an immense amount of goodwill within the
1369 community.
1370       </p><p>
1371         It is not just that restricting access to your work may undermine your
1372 social mission. It also may alienate the people who most value your creative
1373 work. If people like your work, their natural instinct will be to share it
1374 with others. But as David Bollier wrote, <span class="quote">“<span class="quote">Our natural human impulses
1375 to imitate and share—the essence of culture—have been
1376 criminalized.</span>”</span><a href="#ftn.idm501" class="footnote" name="idm501"><sup class="footnote">[49]</sup></a>
1377       </p><p>
1378         The fact that copying can carry criminal penalties undoubtedly deters
1379 copying it, but copying with the click of a button is too easy and
1380 convenient to ever fully stop it. Try as the copyright industry might to
1381 persuade us otherwise, copying a copyrighted work just doesn’t feel like
1382 stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
1383 creative work has no impact on anyone else’s ability to make use of it.
1384       </p><p>
1385         If you take some amount of copying and sharing your work as a given, you can
1386 invest your time and resources elsewhere, rather than wasting them on
1387 playing a cat and mouse game with people who want to copy and share your
1388 work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">“<span class="quote">We could spend a lot of
1389 money trying to protect works, but people are going to do it anyway. And
1390 they will use bad-quality versions.</span>”</span> Instead, they started releasing
1391 high-resolution digital copies of their collection into the public domain
1392 and making them available for free on their website. For them, sharing was a
1393 form of quality control over the copies that were inevitably being shared
1394 online. Doing this meant forgoing the revenue they previously got from
1395 selling digital images. But Lizzy says that was a small price to pay for all
1396 of the opportunities that sharing unlocked for them.
1397       </p><p>
1398         Being Made with Creative Commons means you stop thinking about ways to
1399 artificially make your content scarce, and instead leverage it as the
1400 potentially abundant resource it is.<a href="#ftn.idm507" class="footnote" name="idm507"><sup class="footnote">[50]</sup></a>
1401 When you see information abundance as a feature, not a bug, you start
1402 thinking about the ways to use the idling capacity of your content to your
1403 advantage. As my friend and colleague Eric Steuer once said, <span class="quote">“<span class="quote">Using CC
1404 licenses shows you get the Internet.</span>”</span>
1405       </p><p>
1406         Cory Doctorow says it costs him nothing when other people make copies of his
1407 work, and it opens the possibility that he might get something in
1408 return.<a href="#ftn.idm511" class="footnote" name="idm511"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
1409 Arduino boards knew it was impossible to stop people from copying their
1410 hardware, so they decided not to even try and instead look for the benefits
1411 of being open. For them, the result is one of the most ubiquitous pieces of
1412 hardware in the world, with a thriving online community of tinkerers and
1413 innovators that have done things with their work they never could have done
1414 otherwise.
1415       </p><p>
1416         There are all kinds of way to leverage the power of sharing and remix to
1417 your benefit. Here are a few.
1418       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
1419           Putting a Creative Commons license on your content won’t make it
1420 automatically go viral, but eliminating legal barriers to copying the work
1421 certainly can’t hurt the chances that your work will be shared. The CC
1422 license symbolizes that sharing is welcome. It can act as a little tap on
1423 the shoulder to those who come across the work—a nudge to copy the work if
1424 they have any inkling of doing so. All things being equal, if one piece of
1425 content has a sign that says Share and the other says Don’t Share (which is
1426 what <span class="quote">“<span class="quote">©</span>”</span> means), which do you think people are more likely to
1427 share?
1428         </p><p>
1429           The Conversation is an online news site with in-depth articles written by
1430 academics who are experts on particular topics. All of the articles are
1431 CC-licensed, and they are copied and reshared on other sites by design. This
1432 proliferating effect, which they track, is a central part of the value to
1433 their academic authors who want to reach as many readers as possible.
1434         </p><p>
1435           The idea that more eyeballs equates with more success is a form of the max
1436 strategy, adopted by Google and other technology companies. According to
1437 Google’s Eric Schmidt, the idea is simple: <span class="quote">“<span class="quote">Take whatever it is you
1438 are doing and do it at the max in terms of distribution. The other way of
1439 saying this is that since marginal cost of distribution is free, you might
1440 as well put things everywhere.</span>”</span><a href="#ftn.idm521" class="footnote" name="idm521"><sup class="footnote">[52]</sup></a>
1441 This strategy is what often motivates companies to make their products and
1442 services free (i.e., no cost), but the same logic applies to making content
1443 freely shareable. Because CC-licensed content is free (as in cost) and can
1444 be freely copied, CC licensing makes it even more accessible and likely to
1445 spread.
1446         </p><p>
1447           If you are successful in reaching more users, readers, listeners, or other
1448 consumers of your work, you can start to benefit from the bandwagon
1449 effect. The simple fact that there are other people consuming or following
1450 your work spurs others to want to do the same.<a href="#ftn.idm524" class="footnote" name="idm524"><sup class="footnote">[53]</sup></a> This is, in part, because we simply have a tendency to engage in
1451 herd behavior, but it is also because a large following is at least a
1452 partial indicator of quality or usefulness.<a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[54]</sup></a>
1453         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-get-attribution-and-name-recognition"></a>Use CC to get attribution and name recognition</h3></div></div></div><p>
1454           Every Creative Commons license requires that credit be given to the author,
1455 and that reusers supply a link back to the original source of the
1456 material. CC0, not a license but a tool used to put work in the public
1457 domain, does not make attribution a legal requirement, but many communities
1458 still give credit as a matter of best practices and social norms. In fact,
1459 it is social norms, rather than the threat of legal enforcement, that most
1460 often motivate people to provide attribution and otherwise comply with the
1461 CC license terms anyway. This is the mark of any well-functioning community,
1462 within both the marketplace and the society at large.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
1463 creators, and in the vast majority of circumstances, people are naturally
1464 inclined to follow those wishes. This is particularly the case for something
1465 as straightforward and consistent with basic notions of fairness as
1466 providing credit.
1467         </p><p>
1468           The fact that the name of the creator follows a CC-licensed work makes the
1469 licenses an important means to develop a reputation or, in corporate speak,
1470 a brand. The drive to associate your name with your work is not just based
1471 on commercial motivations, it is fundamental to authorship.  Knowledge
1472 Unlatched is a nonprofit that helps to subsidize the print production of
1473 CC-licensed academic texts by pooling contributions from libraries around
1474 the United States. The CEO, Frances Pinter, says that the Creative Commons
1475 license on the works has a huge value to authors because reputation is the
1476 most important currency for academics. Sharing with CC is a way of having
1477 the most people see and cite your work.
1478         </p><p>
1479           Attribution can be about more than just receiving credit. It can also be
1480 about establishing provenance. People naturally want to know where content
1481 came from—the source of a work is sometimes just as interesting as the work
1482 itself. Opendesk is a platform for furniture designers to share their
1483 designs.  Consumers who like those designs can then get matched with local
1484 makers who turn the designs into real-life furniture.  The fact that I,
1485 sitting in the middle of the United States, can pick out a design created by
1486 a designer in Tokyo and then use a maker within my own community to
1487 transform the design into something tangible is part of the power of their
1488 platform. The provenance of the design is a special part of the product.
1489         </p><p>
1490           Knowing the source of a work is also critical to ensuring its
1491 credibility. Just as a trademark is designed to give consumers a way to
1492 identify the source and quality of a particular good and service, knowing
1493 the author of a work gives the public a way to assess its credibility. In a
1494 time when online discourse is plagued with misinformation, being a trusted
1495 information source is more valuable than ever.
1496         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-licensed-content-as-a-marketing-tool"></a>Use CC-licensed content as a marketing tool</h3></div></div></div><p>
1497           As we will cover in more detail later, many endeavors that are Made with
1498 Creative Commons make money by providing a product or service other than the
1499 CC-licensed work. Sometimes that other product or service is completely
1500 unrelated to the CC content. Other times it’s a physical copy or live
1501 performance of the CC content. In all cases, the CC content can attract
1502 people to your other product or service.
1503         </p><p>
1504           Knowledge Unlatched’s Pinter told us she has seen time and again how
1505 offering CC-licensed content—that is, digitally for free—actually increases
1506 sales of the printed goods because it functions as a marketing tool. We see
1507 this phenomenon regularly with famous artwork. The Mona Lisa is likely the
1508 most recognizable painting on the planet. Its ubiquity has the effect of
1509 catalyzing interest in seeing the painting in person, and in owning physical
1510 goods with the image. Abundant copies of the content often entice more
1511 demand, not blunt it.  Another example came with the advent of the
1512 radio. Although the music industry did not see it coming (and fought it!),
1513 free music on the radio functioned as advertising for the paid version
1514 people bought in music stores.<a href="#ftn.idm541" class="footnote" name="idm541"><sup class="footnote">[56]</sup></a> Free can
1515 be a form of promotion.
1516         </p><p>
1517           In some cases, endeavors that are Made with Creative Commons do not even
1518 need dedicated marketing teams or marketing budgets. Cards Against Humanity
1519 is a CC-licensed card game available as a free download. And because of this
1520 (thanks to the CC license on the game), the creators say it is one of the
1521 best-marketed games in the world, and they have never spent a dime on
1522 marketing. The textbook publisher OpenStax has also avoided hiring a
1523 marketing team. Their products are free, or cheaper to buy in the case of
1524 physical copies, which makes them much more attractive to students who then
1525 demand them from their universities. They also partner with service
1526 providers who build atop the CC-licensed content and, in turn, spend money
1527 and resources marketing those services (and by extension, the OpenStax
1528 textbooks).
1529         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-enable-hands-on-engagement-with-your-work"></a>Use CC to enable hands-on engagement with your work</h3></div></div></div><p>
1530           The great promise of Creative Commons licensing is that it signifies an
1531 embrace of remix culture. Indeed, this is the great promise of digital
1532 technology. The Internet opened up a whole new world of possibilities for
1533 public participation in creative work.
1534         </p><p>
1535           Four of the six CC licenses enable reusers to take apart, build upon, or
1536 otherwise adapt the work. Depending on the context, adaptation can mean
1537 wildly different things—translating, updating, localizing, improving,
1538 transforming. It enables a work to be customized for particular needs, uses,
1539 people, and communities, which is another distinct value to offer the
1540 public.<a href="#ftn.idm548" class="footnote" name="idm548"><sup class="footnote">[57]</sup></a> Adaptation is more game
1541 changing in some contexts than others. With educational materials, the
1542 ability to customize and update the content is critically important for its
1543 usefulness. For photography, the ability to adapt a photo is less important.
1544         </p><p>
1545           This is a way to counteract a potential downside of the abundance of free
1546 and open content described above. As Anderson wrote in Free, <span class="quote">“<span class="quote">People
1547 often don’t care as much about things they don’t pay for, and as a result
1548 they don’t think as much about how they consume them.</span>”</span><a href="#ftn.idm552" class="footnote" name="idm552"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
1549 penny for something changes our perception of that thing, then surely the
1550 act of remixing it enhances our perception exponentially.<a href="#ftn.idm554" class="footnote" name="idm554"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
1551 had a part in creating.<a href="#ftn.idm556" class="footnote" name="idm556"><sup class="footnote">[60]</sup></a> And we know
1552 that creating something, no matter what quality, brings with it a type of
1553 creative satisfaction that can never be replaced by consuming something
1554 created by someone else.<a href="#ftn.idm558" class="footnote" name="idm558"><sup class="footnote">[61]</sup></a>
1555         </p><p>
1556           Actively engaging with the content helps us avoid the type of aimless
1557 consumption that anyone who has absentmindedly scrolled through their
1558 social-media feeds for an hour knows all too well. In his book, Cognitive
1559 Surplus, Clay Shirky says, <span class="quote">“<span class="quote">To participate is to act as if your
1560 presence matters, as if, when you see something or hear something, your
1561 response is part of the event.</span>”</span><a href="#ftn.idm562" class="footnote" name="idm562"><sup class="footnote">[62]</sup></a>
1562 Opening the door to your content can get people more deeply tied to your
1563 work.
1564         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
1565           Operating under a traditional copyright regime usually means operating under
1566 the rules of establishment players in the media. Business strategies that
1567 are embedded in the traditional copyright system, like using digital rights
1568 management (DRM) and signing exclusivity contracts, can tie the hands of
1569 creators, often at the expense of the creator’s best interest.<a href="#ftn.idm567" class="footnote" name="idm567"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
1570 function without those barriers and, in many cases, use the increased
1571 openness as a competitive advantage. David Harris from OpenStax said they
1572 specifically pursue strategies they know that traditional publishers
1573 cannot. <span class="quote">“<span class="quote">Don’t go into a market and play by the incumbent
1574 rules,</span>”</span> David said.  <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
1575         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
1576         Like any moneymaking endeavor, those that are Made with Creative Commons
1577 have to generate some type of value for their audience or
1578 customers. Sometimes that value is subsidized by funders who are not
1579 actually beneficiaries of that value. Funders, whether philanthropic
1580 institutions, governments, or concerned individuals, provide money to the
1581 organization out of a sense of pure altruism. This is the way traditional
1582 nonprofit funding operates.<a href="#ftn.idm574" class="footnote" name="idm574"><sup class="footnote">[64]</sup></a> But in many
1583 cases, the revenue streams used by endeavors that are Made with Creative
1584 Commons are directly tied to the value they generate, where the recipient is
1585 paying for the value they receive like any standard market transaction. In
1586 still other cases, rather than the quid pro quo exchange of money for value
1587 that typically drives market transactions, the recipient gives money out of
1588 a sense of reciprocity.
1589       </p><p>
1590         Most who are Made with Creative Commons use a variety of methods to bring in
1591 revenue, some market-based and some not. One common strategy is using grant
1592 funding for content creation when research-and-development costs are
1593 particularly high, and then finding a different revenue stream (or streams)
1594 for ongoing expenses. As Shirky wrote, <span class="quote">“<span class="quote">The trick is in knowing when
1595 markets are an optimal way of organizing interactions and when they are
1596 not.</span>”</span><a href="#ftn.idm580" class="footnote" name="idm580"><sup class="footnote">[65]</sup></a>
1597       </p><p>
1598         Our case studies explore in more detail the various revenue-generating
1599 mechanisms used by the creators, organizations, and businesses we
1600 interviewed. There is nuance hidden within the specific ways each of them
1601 makes money, so it is a bit dangerous to generalize too much about what we
1602 learned.  Nonetheless, zooming out and viewing things from a higher level of
1603 abstraction can be instructive.
1604       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="market-based-revenue-streams"></a>Market-based revenue streams</h3></div></div></div><p>
1605           In the market, the central question when determining how to bring in revenue
1606 is what value people are willing to pay for.<a href="#ftn.idm586" class="footnote" name="idm586"><sup class="footnote">[66]</sup></a> By definition, if you are Made with Creative Commons, the content
1607 you provide is available for free and not a market commodity. Like the
1608 ubiquitous freemium business model, any possible market transaction with a
1609 consumer of your content has to be based on some added value you
1610 provide.<a href="#ftn.idm588" class="footnote" name="idm588"><sup class="footnote">[67]</sup></a>
1611         </p><p>
1612           In many ways, this is the way of the future for all content-driven
1613 endeavors. In the market, value lives in things that are scarce. Because the
1614 Internet makes a universe of content available to all of us for free, it is
1615 difficult to get people to pay for content online. The struggling newspaper
1616 industry is a testament to this fact. This is compounded by the fact that at
1617 least some amount of copying is probably inevitable. That means you may end
1618 up competing with free versions of your own content, whether you condone it
1619 or not.<a href="#ftn.idm591" class="footnote" name="idm591"><sup class="footnote">[68]</sup></a> If people can easily find your
1620 content for free, getting people to buy it will be difficult, particularly
1621 in a context where access to content is more important than owning it. In
1622 Free, Anderson wrote, <span class="quote">“<span class="quote">Copyright protection schemes, whether coded
1623 into either law or software, are simply holding up a price against the force
1624 of gravity.</span>”</span>
1625         </p><p>
1626           Of course, this doesn’t mean that content-driven endeavors have no future in
1627 the traditional marketplace. In Free, Anderson explains how when one product
1628 or service becomes free, as information and content largely have in the
1629 digital age, other things become more valuable. <span class="quote">“<span class="quote">Every abundance
1630 creates a new scarcity,</span>”</span> he wrote. You just have to find some way
1631 other than the content to provide value to your audience or customers. As
1632 Anderson says, <span class="quote">“<span class="quote">It’s easy to compete with Free: simply offer something
1633 better or at least different from the free version.</span>”</span><a href="#ftn.idm597" class="footnote" name="idm597"><sup class="footnote">[69]</sup></a>
1634         </p><p>
1635           In light of this reality, in some ways endeavors that are Made with Creative
1636 Commons are at a level playing field with all content-based endeavors in the
1637 digital age. In fact, they may even have an advantage because they can use
1638 the abundance of content to derive revenue from something scarce. They can
1639 also benefit from the goodwill that stems from the values behind being Made
1640 with Creative Commons.
1641         </p><p>
1642           For content creators and distributors, there are nearly infinite ways to
1643 provide value to the consumers of your work, above and beyond the value that
1644 lives within your free digital content. Often, the CC-licensed content
1645 functions as a marketing tool for the paid product or service.
1646         </p><p>
1647           Here are the most common high-level categories.
1648         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
1649 <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1650           In this age of information abundance, we don’t lack for content. The trick
1651 is finding content that matches our needs and wants, so customized services
1652 are particularly valuable.  As Anderson wrote, <span class="quote">“<span class="quote">Commodity information
1653 (everybody gets the same version) wants to be free. Customized information
1654 (you get something unique and meaningful to you)  wants to be
1655 expensive.</span>”</span><a href="#ftn.idm607" class="footnote" name="idm607"><sup class="footnote">[70]</sup></a> This can be anything
1656 from the artistic and cultural consulting services provided by Ártica to the
1657 custom-song business of Jonathan <span class="quote">“<span class="quote">Song-A-Day</span>”</span> Mann.
1658         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1659           In his book about maker culture, Anderson characterizes this model as giving
1660 away the bits and selling the atoms (where bits refers to digital content
1661 and atoms refer to a physical object).<a href="#ftn.idm614" class="footnote" name="idm614"><sup class="footnote">[71]</sup></a>
1662 This is particularly successful in domains where the digital version of the
1663 content isn’t as valuable as the analog version, like book publishing where
1664 a significant subset of people still prefer reading something they can hold
1665 in their hands. Or in domains where the content isn’t useful until it is in
1666 physical form, like furniture designs. In those situations, a significant
1667 portion of consumers will pay for the convenience of having someone else put
1668 the physical version together for them. Some endeavors squeeze even more out
1669 of this revenue stream by using a Creative Commons license that only allows
1670 noncommercial uses, which means no one else can sell physical copies of
1671 their work in competition with them. This strategy of reserving commercial
1672 rights can be particularly important for items like books, where every
1673 printed copy of the same work is likely to be the same quality, so it is
1674 harder to differentiate one publishing service from another. On the other
1675 hand, for items like furniture or electronics, the provider of the physical
1676 goods can compete with other providers of the same works based on quality,
1677 service, or other traditional business principles.
1678         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-in-person-version-market-based"></a>Charging for the in-person version <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1679           As anyone who has ever gone to a concert will tell you, experiencing
1680 creativity in person is a completely different experience from consuming a
1681 digital copy on your own. Far from acting as a substitute for face-to-face
1682 interaction, CC-licensed content can actually create demand for the
1683 in-person version of experience. You can see this effect when people go view
1684 original art in person or pay to attend a talk or training course.
1685         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="selling-merchandise-market-based"></a>Selling merchandise <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1686           In many cases, people who like your work will pay for products demonstrating
1687 a connection to your work. As a child of the 1980s, I can personally attest
1688 to the power of a good concert T-shirt. This can also be an important
1689 revenue stream for museums and galleries.
1690         </p><p>
1691           Sometimes the way to find a market-based revenue stream is by providing
1692 value to people other than those who consume your CC-licensed content. In
1693 these revenue streams, the free content is being subsidized by an entirely
1694 different category of people or businesses. Often, those people or
1695 businesses are paying to access your main audience. The fact that the
1696 content is free increases the size of the audience, which in turn makes the
1697 offer more valuable to the paying customers. This is a variation of a
1698 traditional business model built on free called multi-sided
1699 platforms.<a href="#ftn.idm625" class="footnote" name="idm625"><sup class="footnote">[72]</sup></a> Access to your audience
1700 isn’t the only thing people are willing to pay for—there are other services
1701 you can provide as well.
1702         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1703           The traditional model of subsidizing free content is advertising. In this
1704 version of multi-sided platforms, advertisers pay for the opportunity to
1705 reach the set of eyeballs the content creators provide in the form of their
1706 audience.<a href="#ftn.idm631" class="footnote" name="idm631"><sup class="footnote">[73]</sup></a> The Internet has made this
1707 model more difficult because the number of potential channels available to
1708 reach those eyeballs has become essentially infinite.<a href="#ftn.idm633" class="footnote" name="idm633"><sup class="footnote">[74]</sup></a> Nonetheless, it remains a viable revenue stream for
1709 many content creators, including those who are Made with Creative
1710 Commons. Often, instead of paying to display advertising, the advertiser
1711 pays to be an official sponsor of particular content or projects, or of the
1712 overall endeavor.
1713         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-your-content-creators-market-based"></a>Charging your content creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1714           Another type of multisided platform is where the content creators themselves
1715 pay to be featured on the platform.  Obviously, this revenue stream is only
1716 available to those who rely on work created, at least in part, by
1717 others. The most well-known version of this model is the
1718 <span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access journals like those
1719 published by the Public Library of Science, but there are other
1720 variations. The Conversation is primarily funded by a university-membership
1721 model, where universities pay to have their faculties participate as writers
1722 of the content on the Conversation website.
1723         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-a-transaction-fee-market-based"></a>Charging a transaction fee <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1724           This is a version of a traditional business model based on brokering
1725 transactions between parties.<a href="#ftn.idm644" class="footnote" name="idm644"><sup class="footnote">[75]</sup></a> Curation
1726 is an important element of this model.  Platforms like the Noun Project add
1727 value by wading through CC-licensed content to curate a high-quality set and
1728 then derive revenue when creators of that content make transactions with
1729 customers. Other platforms make money when service providers transact with
1730 their customers; for example, Opendesk makes money every time someone on
1731 their site pays a maker to make furniture based on one of the designs on the
1732 platform.
1733         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-service-to-your-creators-market-based"></a>Providing a service to your creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1734           As mentioned above, endeavors can make money by providing customized
1735 services to their users. Platforms can undertake a variation of this service
1736 model directed at the creators that provide the content they feature. The
1737 data platforms Figure.NZ and Figshare both capitalize on this model by
1738 providing paid tools to help their users make the data they contribute to
1739 the platform more discoverable and reusable.
1740         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="licensing-a-trademark-market-based"></a>Licensing a trademark <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1741           Finally, some that are Made with Creative Commons make money by selling use
1742 of their trademarks. Well known brands that consumers associate with
1743 quality, credibility, or even an ethos can license that trademark to
1744 companies that want to take advantage of that goodwill. By definition,
1745 trademarks are scarce because they represent a particular source of a good
1746 or service. Charging for the ability to use that trademark is a way of
1747 deriving revenue from something scarce while taking advantage of the
1748 abundance of CC content.
1749         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="reciprocity-based-revenue-streams"></a>Reciprocity-based revenue streams</h3></div></div></div><p>
1750           Even if we set aside grant funding, we found that the traditional economic
1751 framework of understanding the market failed to fully capture the ways the
1752 endeavors we analyzed were making money. It was not simply about monetizing
1753 scarcity.
1754         </p><p>
1755           Rather than devising a scheme to get people to pay money in exchange for
1756 some direct value provided to them, many of the revenue streams were more
1757 about providing value, building a relationship, and then eventually finding
1758 some money that flows back out of a sense of reciprocity. While some look
1759 like traditional nonprofit funding models, they aren’t charity. The endeavor
1760 exchange value with people, just not necessarily synchronously or in a way
1761 that requires that those values be equal. As David Bollier wrote in Think
1762 Like a Commoner, <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
1763 value given and received is strictly equal.</span>”</span>
1764         </p><p>
1765           This should be a familiar dynamic—it is the way you deal with your friends
1766 and family. We give without regard for what and when we will get back. David
1767 Bollier wrote, <span class="quote">“<span class="quote">Reciprocal social exchange lies at the heart of human
1768 identity, community and culture. It is a vital brain function that helps the
1769 human species survive and evolve.</span>”</span>
1770         </p><p>
1771           What is rare is to incorporate this sort of relationship into an endeavor
1772 that also engages with the market.<a href="#ftn.idm662" class="footnote" name="idm662"><sup class="footnote">[76]</sup></a> We
1773 almost can’t help but think of relationships in the market as being centered
1774 on an even-steven exchange of value.<a href="#ftn.idm664" class="footnote" name="idm664"><sup class="footnote">[77]</sup></a>
1775         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
1776 <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1777           While memberships and donations are traditional nonprofit funding models, in
1778 the Made with Creative Commons context, they are directly tied to the
1779 reciprocal relationship that is cultivated with the beneficiaries of their
1780 work. The bigger the pool of those receiving value from the content, the
1781 more likely this strategy will work, given that only a small percentage of
1782 people are likely to contribute. Since using CC licenses can grease the
1783 wheels for content to reach more people, this strategy can be more effective
1784 for endeavors that are Made with Creative Commons. The greater the argument
1785 that the content is a public good or that the entire endeavor is furthering
1786 a social mission, the more likely this strategy is to succeed.
1787         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1788           In the pay-what-you-want model, the beneficiary of Creative Commons content
1789 is invited to give—at any amount they can and feel is appropriate, based on
1790 the public and personal value they feel is generated by the open
1791 content. Critically, these models are not touted as <span class="quote">“<span class="quote">buying</span>”</span>
1792 something free.  They are similar to a tip jar. People make financial
1793 contributions as an act of gratitude. These models capitalize on the fact
1794 that we are naturally inclined to give money for things we value in the
1795 marketplace, even in situations where we could find a way to get it for
1796 free.
1797         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="crowdfunding-reciprocity-based"></a>Crowdfunding <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1798           Crowdfunding models are based on recouping the costs of creating and
1799 distributing content before the content is created. If the endeavor is Made
1800 with Creative Commons, anyone who wants the work in question could simply
1801 wait until it’s created and then access it for free. That means, for this
1802 model to work, people have to care about more than just receiving the
1803 work. They have to want you to succeed. Amanda Palmer credits the success of
1804 her crowdfunding on Kickstarter and Patreon to the years she spent building
1805 her community and creating a connection with her fans. She wrote in The Art
1806 of Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is offered,
1807 ears are bent, emotions are exchanged, the compost of real, deep connection
1808 is sprayed all over the fields. Then one day, the artist steps up and asks
1809 for something. And if the ground has been fertilized enough, the audience
1810 says, without hesitation: of course.</span>”</span>
1811         </p><p>
1812           Other types of crowdfunding rely on a sense of responsibility that a
1813 particular community may feel. Knowledge Unlatched pools funds from major
1814 U.S. libraries to subsidize CC-licensed academic work that will be, by
1815 definition, available to everyone for free. Libraries with bigger budgets
1816 tend to give more out of a sense of commitment to the library community and
1817 to the idea of open access generally.
1818         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
1819         Regardless of how they made money, in our interviews, we repeatedly heard
1820 language like <span class="quote">“<span class="quote">persuading people to buy</span>”</span> and <span class="quote">“<span class="quote">inviting
1821 people to pay.</span>”</span> We heard it even in connection with revenue streams
1822 that sit squarely within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
1823 convince my readers that the right thing to do is to pay me.</span>”</span> The
1824 founders of the for-profit company Lumen Learning showed us the letter they
1825 send to those who opt not to pay for the services they provide in connection
1826 with their CC-licensed educational content. It isn’t a cease-and-desist
1827 letter; it’s an invitation to pay because it’s the right thing to do. This
1828 sort of behavior toward what could be considered nonpaying customers is
1829 largely unheard of in the traditional marketplace. But it seems to be part
1830 of the fabric of being Made with Creative Commons.
1831       </p><p>
1832         Nearly every endeavor we profiled relied, at least in part, on people being
1833 invested in what they do. The closer the Creative Commons content is to
1834 being <span class="quote">“<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
1835 be. Rather than simply selling a product or service, they are making
1836 ideological, personal, and creative connections with the people who value
1837 what they do.
1838       </p><p>
1839         It took me a very long time to see how this avoidance of thinking about what
1840 they do in pure market terms was deeply tied to being Made with Creative
1841 Commons.
1842       </p><p>
1843         I came to the research with preconceived notions about what Creative Commons
1844 is and what it means to be Made with Creative Commons. It turned out I was
1845 wrong on so many counts.
1846       </p><p>
1847         Obviously, being Made with Creative Commons means using Creative Commons
1848 licenses. That much I knew. But in our interviews, people spoke of so much
1849 more than copyright permissions when they explained how sharing fit into
1850 what they do. I was thinking about sharing too narrowly, and as a result, I
1851 was missing vast swaths of the meaning packed within Creative
1852 Commons. Rather than parsing the specific and narrow role of the copyright
1853 license in the equation, it is important not to disaggregate the rest of
1854 what comes with sharing. You have to widen the lens.
1855       </p><p>
1856         Being Made with Creative Commons is not just about the simple act of
1857 licensing a copyrighted work under a set of standardized terms, but also
1858 about community, social good, contributing ideas, expressing a value system,
1859 working together. These components of sharing are hard to cultivate if you
1860 think about what you do in purely market terms. Decent social behavior isn’t
1861 as intuitive when we are doing something that involves monetary exchange. It
1862 takes a conscious effort to foster the context for real sharing, based not
1863 strictly on impersonal market exchange, but on connections with the people
1864 with whom you share—connections with you, with your work, with your values,
1865 with each other.
1866       </p><p>
1867         The rest of this section will explore some of the common strategies that
1868 creators, companies, and organizations use to remind us that there are
1869 humans behind every creative endeavor.  To remind us we have obligations to
1870 each other. To remind us what sharing really looks like.
1871       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
1872           Humans are social animals, which means we are naturally inclined to treat
1873 each other well.<a href="#ftn.idm697" class="footnote" name="idm697"><sup class="footnote">[78]</sup></a> But the further
1874 removed we are from the person with whom we are interacting, the less caring
1875 our behavior will be. While the Internet has democratized cultural
1876 production, increased access to knowledge, and connected us in extraordinary
1877 ways, it can also make it easy forget we are dealing with another human.
1878         </p><p>
1879           To counteract the anonymous and impersonal tendencies of how we operate
1880 online, individual creators and corporations who use Creative Commons
1881 licenses work to demonstrate their humanity. For some, this means pouring
1882 their lives out on the page. For others, it means showing their creative
1883 process, giving a glimpse into how they do what they do. As writer Austin
1884 Kleon wrote, <span class="quote">“<span class="quote">Our work doesn’t speak for itself.  Human beings want to
1885 know where things came from, how they were made, and who made them. The
1886 stories you tell about the work you do have a huge effect on how people feel
1887 and what they understand about your work, and how people feel and what they
1888 understand about your work affects how they value it.</span>”</span><a href="#ftn.idm701" class="footnote" name="idm701"><sup class="footnote">[79]</sup></a>
1889         </p><p>
1890           A critical component to doing this effectively is not worrying about being a
1891 <span class="quote">“<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
1892 Palmer says, <span class="quote">“<span class="quote">When you’re afraid of someone’s judgment, you can’t
1893 connect with them. You’re too preoccupied with the task of impressing
1894 them.</span>”</span> Not everyone is suited to live life as an open book like
1895 Palmer, and that’s OK. There are a lot of ways to be human. The trick is
1896 just avoiding pretense and the temptation to artificially craft an
1897 image. People don’t just want the glossy version of you. They can’t relate
1898 to it, at least not in a meaningful way.
1899         </p><p>
1900           This advice is probably even more important for businesses and organizations
1901 because we instinctively conceive of them as nonhuman (though in the United
1902 States, corporations are people!). When corporations and organizations make
1903 the people behind them more apparent, it reminds people that they are
1904 dealing with something other than an anonymous corporate entity. In
1905 business-speak, this is about <span class="quote">“<span class="quote">humanizing your interactions</span>”</span>
1906 with the public.<a href="#ftn.idm708" class="footnote" name="idm708"><sup class="footnote">[80]</sup></a> But it can’t be a
1907 gimmick. You can’t fake being human.
1908         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
1909           Transparency helps people understand who you are and why you do what you do,
1910 but it also inspires trust. Max Temkin of Cards Against Humanity told us,
1911 <span class="quote">“<span class="quote">One of the most surprising things you can do in capitalism is just be
1912 honest with people.</span>”</span> That means sharing the good and the bad.  As
1913 Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by authentically
1914 communicating.</span>”</span><a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[81]</sup></a> It isn’t about
1915 trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
1916 instead about explaining your rationale and then being prepared to defend it
1917 when people are critical.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[82]</sup></a>
1918         </p><p>
1919           Being accountable does not mean operating on consensus.  According to James
1920 Surowiecki, consensus-driven groups tend to resort to
1921 lowest-common-denominator solutions and avoid the sort of candid exchange of
1922 ideas that cultivates healthy collaboration.<a href="#ftn.idm720" class="footnote" name="idm720"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
1923 context and explanation about decisions you make, even if soliciting
1924 feedback and inviting discourse is time-consuming. If you don’t go through
1925 the effort to actually respond to the input you receive, it can be worse
1926 than not inviting input in the first place.<a href="#ftn.idm722" class="footnote" name="idm722"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the type of diversity
1927 of thought that helps endeavors excel. And it is another way to get people
1928 involved and invested in what you do.
1929         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
1930           Traditional economics assumes people make decisions based solely on their
1931 own economic self-interest.<a href="#ftn.idm727" class="footnote" name="idm727"><sup class="footnote">[85]</sup></a> Any
1932 relatively introspective human knows this is a fiction—we are much more
1933 complicated beings with a whole range of needs, emotions, and
1934 motivations. In fact, we are hardwired to work together and ensure
1935 fairness.<a href="#ftn.idm729" class="footnote" name="idm729"><sup class="footnote">[86]</sup></a> Being Made with Creative
1936 Commons requires an assumption that people will largely act on those social
1937 motivations, motivations that would be considered <span class="quote">“<span class="quote">irrational</span>”</span>
1938 in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is
1939 best to ignore people who try to scare you about free riding. That fear is
1940 based on a very shallow view of what motivates human behavior.</span>”</span> There
1941 will always be people who will act in purely selfish ways, but endeavors
1942 that are Made with Creative Commons design for the good actors.
1943         </p><p>
1944           The assumption that people will largely do the right thing can be a
1945 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">“<span class="quote">Systems
1946 that assume people will act in ways that create public goods, and that give
1947 them opportunities and rewards for doing so, often let them work together
1948 better than neoclassical economics would predict.</span>”</span><a href="#ftn.idm735" class="footnote" name="idm735"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
1949 by something other than financial self-interest, we design our endeavors in
1950 ways that encourage and accentuate our social instincts.
1951         </p><p>
1952           Rather than trying to exert control over people’s behavior, this mode of
1953 operating requires a certain level of trust. We might not realize it, but
1954 our daily lives are already built on trust. As Surowiecki wrote in The
1955 Wisdom of Crowds, <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone
1956 to make sure citizens act honestly and responsibly. And it’s impossible for
1957 any organization to rely on contracts alone to make sure that its managers
1958 and workers live up to their obligation.</span>”</span> Instead, we largely trust
1959 that people—mostly strangers—will do what they are supposed to
1960 do.<a href="#ftn.idm739" class="footnote" name="idm739"><sup class="footnote">[88]</sup></a> And most often, they do.
1961         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
1962           For creators, treating people as humans means not treating them like
1963 fans. As Kleon says, <span class="quote">“<span class="quote">If you want fans, you have to be a fan
1964 first.</span>”</span><a href="#ftn.idm745" class="footnote" name="idm745"><sup class="footnote">[89]</sup></a> Even if you happen to be
1965 one of the few to reach celebrity levels of fame, you are better off
1966 remembering that the people who follow your work are human, too. Cory
1967 Doctorow makes a point to answer every single email someone sends him.
1968 Amanda Palmer spends vast quantities of time going online to communicate
1969 with her public, making a point to listen just as much as she
1970 talks.<a href="#ftn.idm747" class="footnote" name="idm747"><sup class="footnote">[90]</sup></a>
1971         </p><p>
1972           The same idea goes for businesses and organizations. Rather than automating
1973 its customer service, the music platform Tribe of Noise makes a point to
1974 ensure its employees have personal, one-on-one interaction with users.
1975         </p><p>
1976           When we treat people like humans, they typically return the gift in
1977 kind. It’s called karma. But social relationships are fragile. It is all too
1978 easy to destroy them if you make the mistake of treating people as anonymous
1979 customers or free labor.<a href="#ftn.idm751" class="footnote" name="idm751"><sup class="footnote">[91]</sup></a> Platforms that
1980 rely on content from contributors are especially at risk of creating an
1981 exploitative dynamic. It is important to find ways to acknowledge and pay
1982 back the value that contributors generate. That does not mean you can solve
1983 this problem by simply paying contributors for their time or
1984 contributions. As soon as we introduce money into a relationship—at least
1985 when it takes a form of paying monetary value in exchange for other value—it
1986 can dramatically change the dynamic.<a href="#ftn.idm753" class="footnote" name="idm753"><sup class="footnote">[92]</sup></a>
1987         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
1988           Being Made with Creative Commons makes a statement about who you are and
1989 what you do. The symbolism is powerful. Using Creative Commons licenses
1990 demonstrates adherence to a particular belief system, which generates
1991 goodwill and connects like-minded people to your work. Sometimes people will
1992 be drawn to endeavors that are Made with Creative Commons as a way of
1993 demonstrating their own commitment to the Creative Commons value system,
1994 akin to a political statement. Other times people will identify and feel
1995 connected with an endeavor’s separate social mission. Often both.
1996         </p><p>
1997           The expression of your values doesn’t have to be implicit. In fact, many of
1998 the people we interviewed talked about how important it is to state your
1999 guiding principles up front.  Lumen Learning attributes a lot of their
2000 success to having been outspoken about the fundamental values that guide
2001 what they do. As a for-profit company, they think their expressed commitment
2002 to low-income students and open licensing has been critical to their
2003 credibility in the OER (open educational resources) community in which they
2004 operate.
2005         </p><p>
2006           When your end goal is not about making a profit, people trust that you
2007 aren’t just trying to extract value for your own gain. People notice when
2008 you have a sense of purpose that transcends your own
2009 self-interest.<a href="#ftn.idm760" class="footnote" name="idm760"><sup class="footnote">[93]</sup></a> It attracts committed
2010 employees, motivates contributors, and builds trust.
2011         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="build-a-community"></a>Build a community</h3></div></div></div><p>
2012           Endeavors that are Made with Creative Commons thrive when community is built
2013 around what they do. This may mean a community collaborating together to
2014 create something new, or it may simply be a collection of like-minded people
2015 who get to know each other and rally around common interests or
2016 beliefs.<a href="#ftn.idm765" class="footnote" name="idm765"><sup class="footnote">[94]</sup></a> To a certain extent, simply
2017 being Made with Creative Commons automatically brings with it some element
2018 of community, by helping connect you to like-minded others who recognize and
2019 are drawn to the values symbolized by using CC.
2020         </p><p>
2021           To be sustainable, though, you have to work to nurture community. People
2022 have to care—about you and each other. One critical piece to this is
2023 fostering a sense of belonging. As Jono Bacon writes in The Art of
2024 Community, <span class="quote">“<span class="quote">If there is no belonging, there is no community.</span>”</span>
2025 For Amanda Palmer and her band, that meant creating an accepting and
2026 inclusive environment where people felt a part of their <span class="quote">“<span class="quote">weird little
2027 family.</span>”</span><a href="#ftn.idm770" class="footnote" name="idm770"><sup class="footnote">[95]</sup></a> For organizations like
2028 Red Hat, that means connecting around common beliefs or goals. As the CEO
2029 Jim Whitehurst wrote in The Open Organization, <span class="quote">“<span class="quote">Tapping into passion
2030 is especially important in building the kinds of participative communities
2031 that drive open organizations.</span>”</span><a href="#ftn.idm773" class="footnote" name="idm773"><sup class="footnote">[96]</sup></a>
2032         </p><p>
2033           Communities that collaborate together take deliberate planning. Surowiecki
2034 wrote, <span class="quote">“<span class="quote">It takes a lot of work to put the group together. It’s
2035 difficult to ensure that people are working in the group’s interest and not
2036 in their own. And when there’s a lack of trust between the members of the
2037 group (which isn’t surprising given that they don’t really know each other),
2038 considerable energy is wasted trying to determine each other’s bona
2039 fides.</span>”</span><a href="#ftn.idm777" class="footnote" name="idm777"><sup class="footnote">[97]</sup></a> Building true community
2040 requires giving people within the community the power to create or influence
2041 the rules that govern the community.<a href="#ftn.idm779" class="footnote" name="idm779"><sup class="footnote">[98]</sup></a> If
2042 the rules are created and imposed in a top-down manner, people feel like
2043 they don’t have a voice, which in turn leads to disengagement.
2044         </p><p>
2045           Community takes work, but working together, or even simply being connected
2046 around common interests or values, is in many ways what sharing is about.
2047         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="give-more-to-the-commons-than-you-take"></a>Give more to the commons than you take</h3></div></div></div><p>
2048           Conventional wisdom in the marketplace dictates that people should try to
2049 extract as much money as possible from resources. This is essentially what
2050 defines so much of the so-called sharing economy. In an article on the
2051 Harvard Business Review website called <span class="quote">“<span class="quote">The Sharing Economy Isn’t
2052 about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
2053 explained how the anonymous market-driven trans-actions in most
2054 sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm786" class="footnote" name="idm786"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
2055 primary strategy of the sharing economy is to sell the same product multiple
2056 times, by selling access rather than ownership.<a href="#ftn.idm790" class="footnote" name="idm790"><sup class="footnote">[100]</sup></a> That is not sharing.
2057         </p><p>
2058           Sharing requires adding as much or more value to the ecosystem than you
2059 take. You can’t simply treat open content as a free pool of resources from
2060 which to extract value. Part of giving back to the ecosystem is contributing
2061 content back to the public under CC licenses. But it doesn’t have to just be
2062 about creating content; it can be about adding value in other ways.  The
2063 social blogging platform Medium provides value to its community by
2064 incentivizing good behavior, and the result is an online space with
2065 remarkably high-quality user-generated content and limited
2066 trolling.<a href="#ftn.idm793" class="footnote" name="idm793"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
2067 community by committing to help its designers make money, in part by
2068 actively curating and displaying their work on its platform effectively.
2069         </p><p>
2070           In all cases, it is important to openly acknowledge the amount of value you
2071 add versus that which you draw on that was created by others. Being
2072 transparent about this builds credibility and shows you are a contributing
2073 player in the commons. When your endeavor is making money, that also means
2074 apportioning financial compensation in a way that reflects the value
2075 contributed by others, providing more to contributors when the value they
2076 add outweighs the value provided by you.
2077         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="involve-people-in-what-you-do"></a>Involve people in what you do</h3></div></div></div><p>
2078           Thanks to the Internet, we can tap into the talents and expertise of people
2079 around the globe. Chris Anderson calls it the Long Tail of
2080 talent.<a href="#ftn.idm801" class="footnote" name="idm801"><sup class="footnote">[102]</sup></a> But to make collaboration work,
2081 the group has to be effective at what it is doing, and the people within the
2082 group have to find satisfaction from being involved.<a href="#ftn.idm803" class="footnote" name="idm803"><sup class="footnote">[103]</sup></a> This is easier to facilitate for some types of
2083 creative work than it is for others. Groups tied together online collaborate
2084 best when people can work independently and asynchronously, and particularly
2085 for larger groups with loose ties, when contributors can make simple
2086 improvements without a particularly heavy time commitment.<a href="#ftn.idm805" class="footnote" name="idm805"><sup class="footnote">[104]</sup></a>
2087         </p><p>
2088           As the success of Wikipedia demonstrates, editing an online encyclopedia is
2089 exactly the sort of activity that is perfect for massive co-creation because
2090 small, incremental edits made by a diverse range of people acting on their
2091 own are immensely valuable in the aggregate. Those same sorts of small
2092 contributions would be less useful for many other types of creative work,
2093 and people are inherently less motivated to contribute when it doesn’t
2094 appear that their efforts will make much of a difference.<a href="#ftn.idm808" class="footnote" name="idm808"><sup class="footnote">[105]</sup></a>
2095         </p><p>
2096           It is easy to romanticize the opportunities for global cocreation made
2097 possible by the Internet, and, indeed, the successful examples of it are
2098 truly incredible and inspiring.  But in a wide range of
2099 circumstances—perhaps more often than not—community cocreation is not part
2100 of the equation, even within endeavors built on CC content. Shirky wrote,
2101 <span class="quote">“<span class="quote">Sometimes the value of professional work trumps the value of amateur
2102 sharing or a feeling of belonging.<a href="#ftn.idm812" class="footnote" name="idm812"><sup class="footnote">[106]</sup></a> The
2103 textbook publisher OpenStax, which distributes all of its material for free
2104 under CC licensing, is an example of this dynamic. Rather than tapping the
2105 community to help cocreate their college textbooks, they invest a
2106 significant amount of time and money to develop professional content. For
2107 individual creators, where the creative work is the basis for what they do,
2108 community cocreation is only rarely a part of the picture. Even musician
2109 Amanda Palmer, who is famous for her openness and involvement with her fans,
2110 said,</span>”</span>The only department where I wasn’t open to input was the
2111 writing, the music itself."<a href="#ftn.idm814" class="footnote" name="idm814"><sup class="footnote">[107]</sup></a>
2112         </p><p>
2113           While we tend to immediately think of cocreation and remixing when we hear
2114 the word collaboration, you can also involve others in your creative process
2115 in more informal ways, by sharing half-baked ideas and early drafts, and
2116 interacting with the public to incubate ideas and get feedback. So-called
2117 <span class="quote">“<span class="quote">making in public</span>”</span> opens the door to letting people feel more
2118 invested in your creative work.<a href="#ftn.idm818" class="footnote" name="idm818"><sup class="footnote">[108]</sup></a> And it
2119 shows a nonterritorial approach to ideas and information. Stephen Covey (of
2120 The 7 Habits of Highly Effective People fame) calls this the abundance
2121 mentality—treating ideas like something plentiful—and it can create an
2122 environment where collaboration flourishes.<a href="#ftn.idm820" class="footnote" name="idm820"><sup class="footnote">[109]</sup></a>
2123         </p><p>
2124           There is no one way to involve people in what you do. They key is finding a
2125 way for people to contribute on their terms, compelled by their own
2126 motivations.<a href="#ftn.idm823" class="footnote" name="idm823"><sup class="footnote">[110]</sup></a> What that looks like
2127 varies wildly depending on the project. Not every endeavor that is Made with
2128 Creative Commons can be Wikipedia, but every endeavor can find ways to
2129 invite the public into what they do. The goal for any form of collaboration
2130 is to move away from thinking of consumers as passive recipients of your
2131 content and transition them into active participants.<a href="#ftn.idm825" class="footnote" name="idm825"><sup class="footnote">[111]</sup></a>
2132         </p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm428" class="footnote"><p><a href="#idm428" class="para"><sup class="para">[37] </sup></a>
2133           Alex Osterwalder e Yves Pigneur, <span class="emphasis"><em>Business Model
2134 Generation</em></span> (Hoboken, NJ: John Wiley e Sons, 2010), 14. Uma prévia
2135 do livro está disponível em <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
2136         </p></div><div id="ftn.idm443" class="footnote"><p><a href="#idm443" class="para"><sup class="para">[38] </sup></a>
2137           Cory Doctorow, *Information Doesn Want to Be Free: Laws for the Internet
2138 Age* (São Francisco, CA: McSweeney’s, 2014) 68.
2139         </p></div><div id="ftn.idm453" class="footnote"><p><a href="#idm453" class="para"><sup class="para">[39] </sup></a>
2140           Ibid., 55.
2141         </p></div><div id="ftn.idm456" class="footnote"><p><a href="#idm456" class="para"><sup class="para">[40] </sup></a>
2142           Chris Anderson, <span class="emphasis"><em>Free: How Today’s Smartest Businesses Profit by
2143 Giving Something for Nothing</em></span>, reimpressão com novo prefácio (Nova
2144 York: Hyperion, 2010), 224.
2145         </p></div><div id="ftn.idm461" class="footnote"><p><a href="#idm461" class="para"><sup class="para">[41] </sup></a>
2146           Doctorow, <span class="emphasis"><em>Information Doesn’t Want to Be Free</em></span>, 44.
2147         </p></div><div id="ftn.idm474" class="footnote"><p><a href="#idm474" class="para"><sup class="para">[42] </sup></a>
2148             Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
2149 People Help (New York: Grand Central, 2014), 121.
2150           </p></div><div id="ftn.idm478" class="footnote"><p><a href="#idm478" class="para"><sup class="para">[43] </sup></a>
2151             Chris Anderson, Makers: The New Industrial Revolution (New York: Signal,
2152 2012), 64.
2153           </p></div><div id="ftn.idm482" class="footnote"><p><a href="#idm482" class="para"><sup class="para">[44] </sup></a>
2154             David Bollier, Think Like a Commoner: A Short Introduction to the Life of
2155 the Commons (Gabriola Island, BC: New Society, 2014), 70.
2156           </p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[45] </sup></a>
2157             Anderson, Makers, 66.
2158           </p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[46] </sup></a>
2159             Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New
2160 York: Morgan James, 2016), 10.
2161           </p></div><div id="ftn.idm491" class="footnote"><p><a href="#idm491" class="para"><sup class="para">[47] </sup></a>
2162             Anderson, Free, 62.
2163           </p></div><div id="ftn.idm496" class="footnote"><p><a href="#idm496" class="para"><sup class="para">[48] </sup></a>
2164             Doctorow, Information Doesn’t Want to Be Free, 38.
2165           </p></div><div id="ftn.idm501" class="footnote"><p><a href="#idm501" class="para"><sup class="para">[49] </sup></a>
2166             Bollier, Think Like a Commoner, 68.
2167           </p></div><div id="ftn.idm507" class="footnote"><p><a href="#idm507" class="para"><sup class="para">[50] </sup></a>
2168             Anderson, Free, 86.
2169           </p></div><div id="ftn.idm511" class="footnote"><p><a href="#idm511" class="para"><sup class="para">[51] </sup></a>
2170             Doctorow, Information Doesn’t Want to Be Free, 144.
2171           </p></div><div id="ftn.idm521" class="footnote"><p><a href="#idm521" class="para"><sup class="para">[52] </sup></a>
2172               Anderson, Free, 123.
2173             </p></div><div id="ftn.idm524" class="footnote"><p><a href="#idm524" class="para"><sup class="para">[53] </sup></a>
2174               Ibid., 132.
2175             </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[54] </sup></a>
2176               Ibid., 70.
2177             </p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[55] </sup></a>
2178               James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
2179 124. Surowiecki says, <span class="quote">“<span class="quote">The measure of success of laws and contracts is
2180 how rarely they are invoked.</span>”</span>
2181             </p></div><div id="ftn.idm541" class="footnote"><p><a href="#idm541" class="para"><sup class="para">[56] </sup></a>
2182               Anderson, Free, 44.
2183             </p></div><div id="ftn.idm548" class="footnote"><p><a href="#idm548" class="para"><sup class="para">[57] </sup></a>
2184               Osterwalder and Pigneur, Business Model Generation, 23.
2185             </p></div><div id="ftn.idm552" class="footnote"><p><a href="#idm552" class="para"><sup class="para">[58] </sup></a>
2186               Anderson, Free, 67.
2187             </p></div><div id="ftn.idm554" class="footnote"><p><a href="#idm554" class="para"><sup class="para">[59] </sup></a>
2188               Ibid., 58.
2189             </p></div><div id="ftn.idm556" class="footnote"><p><a href="#idm556" class="para"><sup class="para">[60] </sup></a>
2190               Anderson, Makers, 71.
2191             </p></div><div id="ftn.idm558" class="footnote"><p><a href="#idm558" class="para"><sup class="para">[61] </sup></a>
2192               Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
2193 Collaborators (London: Penguin Books, 2010), 78.
2194             </p></div><div id="ftn.idm562" class="footnote"><p><a href="#idm562" class="para"><sup class="para">[62] </sup></a>
2195               Ibid., 21.
2196             </p></div><div id="ftn.idm567" class="footnote"><p><a href="#idm567" class="para"><sup class="para">[63] </sup></a>
2197               Doctorow, Information Doesn’t Want to Be Free, 43.
2198             </p></div><div id="ftn.idm574" class="footnote"><p><a href="#idm574" class="para"><sup class="para">[64] </sup></a>
2199             William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">“<span class="quote">Ten
2200 Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
2201 2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
2202           </p></div><div id="ftn.idm580" class="footnote"><p><a href="#idm580" class="para"><sup class="para">[65] </sup></a>
2203             Shirky, Cognitive Surplus, 111.
2204           </p></div><div id="ftn.idm586" class="footnote"><p><a href="#idm586" class="para"><sup class="para">[66] </sup></a>
2205               Osterwalder and Pigneur, Business Model Generation, 30.
2206             </p></div><div id="ftn.idm588" class="footnote"><p><a href="#idm588" class="para"><sup class="para">[67] </sup></a>
2207               Jim Whitehurst, The Open Organization: Igniting Passion and Performance
2208 (Boston: Harvard Business Review Press, 2015), 202.
2209             </p></div><div id="ftn.idm591" class="footnote"><p><a href="#idm591" class="para"><sup class="para">[68] </sup></a>
2210               Anderson, Free, 71.
2211             </p></div><div id="ftn.idm597" class="footnote"><p><a href="#idm597" class="para"><sup class="para">[69] </sup></a>
2212               Ibid., 231.
2213             </p></div><div id="ftn.idm607" class="footnote"><p><a href="#idm607" class="para"><sup class="para">[70] </sup></a>
2214               Ibid., 97.
2215             </p></div><div id="ftn.idm614" class="footnote"><p><a href="#idm614" class="para"><sup class="para">[71] </sup></a>
2216               Anderson, Makers, 107.
2217             </p></div><div id="ftn.idm625" class="footnote"><p><a href="#idm625" class="para"><sup class="para">[72] </sup></a>
2218               Osterwalder and Pigneur, Business Model Generation, 89.
2219             </p></div><div id="ftn.idm631" class="footnote"><p><a href="#idm631" class="para"><sup class="para">[73] </sup></a>
2220               Ibid., 92.
2221             </p></div><div id="ftn.idm633" class="footnote"><p><a href="#idm633" class="para"><sup class="para">[74] </sup></a>
2222               Anderson, Free, 142.
2223             </p></div><div id="ftn.idm644" class="footnote"><p><a href="#idm644" class="para"><sup class="para">[75] </sup></a>
2224               Osterwalder and Pigneur, Business Model Generation, 32.
2225             </p></div><div id="ftn.idm662" class="footnote"><p><a href="#idm662" class="para"><sup class="para">[76] </sup></a>
2226               Bollier, Think Like a Commoner, 150.
2227             </p></div><div id="ftn.idm664" class="footnote"><p><a href="#idm664" class="para"><sup class="para">[77] </sup></a>
2228               Ibid., 134.
2229             </p></div><div id="ftn.idm697" class="footnote"><p><a href="#idm697" class="para"><sup class="para">[78] </sup></a>
2230               Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
2231 Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
2232             </p></div><div id="ftn.idm701" class="footnote"><p><a href="#idm701" class="para"><sup class="para">[79] </sup></a>
2233               Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
2234 Discovered (New York: Workman, 2014), 93.
2235             </p></div><div id="ftn.idm708" class="footnote"><p><a href="#idm708" class="para"><sup class="para">[80] </sup></a>
2236               Kramer, Shareology, 76.
2237             </p></div><div id="ftn.idm715" class="footnote"><p><a href="#idm715" class="para"><sup class="para">[81] </sup></a>
2238               Palmer, Art of Asking, 252.
2239             </p></div><div id="ftn.idm717" class="footnote"><p><a href="#idm717" class="para"><sup class="para">[82] </sup></a>
2240               Whitehurst, Open Organization, 145.
2241             </p></div><div id="ftn.idm720" class="footnote"><p><a href="#idm720" class="para"><sup class="para">[83] </sup></a>
2242               Surowiecki, Wisdom of Crowds, 203.
2243             </p></div><div id="ftn.idm722" class="footnote"><p><a href="#idm722" class="para"><sup class="para">[84] </sup></a>
2244               Whitehurst, Open Organization, 80.
2245             </p></div><div id="ftn.idm727" class="footnote"><p><a href="#idm727" class="para"><sup class="para">[85] </sup></a>
2246               Bollier, Think Like a Commoner, 25.
2247             </p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[86] </sup></a>
2248               Ibid., 31.
2249             </p></div><div id="ftn.idm735" class="footnote"><p><a href="#idm735" class="para"><sup class="para">[87] </sup></a>
2250               Shirky, Cognitive Surplus, 112.
2251             </p></div><div id="ftn.idm739" class="footnote"><p><a href="#idm739" class="para"><sup class="para">[88] </sup></a>
2252               Surowiecki, Wisdom of Crowds, 124.
2253             </p></div><div id="ftn.idm745" class="footnote"><p><a href="#idm745" class="para"><sup class="para">[89] </sup></a>
2254               Kleon, Show Your Work, 127.
2255             </p></div><div id="ftn.idm747" class="footnote"><p><a href="#idm747" class="para"><sup class="para">[90] </sup></a>
2256               Palmer, Art of Asking, 121.
2257             </p></div><div id="ftn.idm751" class="footnote"><p><a href="#idm751" class="para"><sup class="para">[91] </sup></a>
2258               Ariely, Predictably Irrational, 87.
2259             </p></div><div id="ftn.idm753" class="footnote"><p><a href="#idm753" class="para"><sup class="para">[92] </sup></a>
2260               Ibid., 105.
2261             </p></div><div id="ftn.idm760" class="footnote"><p><a href="#idm760" class="para"><sup class="para">[93] </sup></a>
2262               Ibid., 36.
2263             </p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[94] </sup></a>
2264               Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2265 2012), 36.
2266             </p></div><div id="ftn.idm770" class="footnote"><p><a href="#idm770" class="para"><sup class="para">[95] </sup></a>
2267               Palmer, Art of Asking, 98.
2268             </p></div><div id="ftn.idm773" class="footnote"><p><a href="#idm773" class="para"><sup class="para">[96] </sup></a>
2269               Whitehurst, Open Organization, 34.
2270             </p></div><div id="ftn.idm777" class="footnote"><p><a href="#idm777" class="para"><sup class="para">[97] </sup></a>
2271               Surowiecki, Wisdom of Crowds, 200.
2272             </p></div><div id="ftn.idm779" class="footnote"><p><a href="#idm779" class="para"><sup class="para">[98] </sup></a>
2273               Bollier, Think Like a Commoner, 29.
2274             </p></div><div id="ftn.idm786" class="footnote"><p><a href="#idm786" class="para"><sup class="para">[99] </sup></a>
2275               Giana Eckhardt and Fleura Bardhi, <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
2276 Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
2277 <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
2278             </p></div><div id="ftn.idm790" class="footnote"><p><a href="#idm790" class="para"><sup class="para">[100] </sup></a>
2279               Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
2280 new epilogue (New York: Portfolio, 2012).
2281             </p></div><div id="ftn.idm793" class="footnote"><p><a href="#idm793" class="para"><sup class="para">[101] </sup></a>
2282               David Lee, <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
2283 Internet,</span>”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
2284             </p></div><div id="ftn.idm801" class="footnote"><p><a href="#idm801" class="para"><sup class="para">[102] </sup></a>
2285               Anderson, Makers, 148.
2286             </p></div><div id="ftn.idm803" class="footnote"><p><a href="#idm803" class="para"><sup class="para">[103] </sup></a>
2287               Shirky, Cognitive Surplus, 164.
2288             </p></div><div id="ftn.idm805" class="footnote"><p><a href="#idm805" class="para"><sup class="para">[104] </sup></a>
2289               Whitehurst, foreword to Open Organization.
2290             </p></div><div id="ftn.idm808" class="footnote"><p><a href="#idm808" class="para"><sup class="para">[105] </sup></a>
2291               Shirky, Cognitive Surplus, 144.
2292             </p></div><div id="ftn.idm812" class="footnote"><p><a href="#idm812" class="para"><sup class="para">[106] </sup></a>
2293               Ibid., 154.
2294             </p></div><div id="ftn.idm814" class="footnote"><p><a href="#idm814" class="para"><sup class="para">[107] </sup></a>
2295               Palmer, Art of Asking, 163.
2296             </p></div><div id="ftn.idm818" class="footnote"><p><a href="#idm818" class="para"><sup class="para">[108] </sup></a>
2297               Anderson, Makers, 173.
2298             </p></div><div id="ftn.idm820" class="footnote"><p><a href="#idm820" class="para"><sup class="para">[109] </sup></a>
2299               Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
2300 within Us All (New York: Crown, 2013), 82.
2301             </p></div><div id="ftn.idm823" class="footnote"><p><a href="#idm823" class="para"><sup class="para">[110] </sup></a>
2302               Whitehurst, foreword to Open Organization.
2303             </p></div><div id="ftn.idm825" class="footnote"><p><a href="#idm825" class="para"><sup class="para">[111] </sup></a>
2304               Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
2305 Collaborative Consumption (New York: Harper Business, 2010), 188.
2306             </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Capítulo 3. The Creative Commons Licenses</h2></div></div></div><p>
2307       All of the Creative Commons licenses grant a basic set of permissions. At a
2308 minimum, a CC- licensed work can be copied and shared in its original form
2309 for noncommercial purposes so long as attribution is given to the
2310 creator. There are six licenses in the CC license suite that build on that
2311 basic set of permissions, ranging from the most restrictive (allowing only
2312 those basic permissions to share unmodified copies for noncommercial
2313 purposes)  to the most permissive (reusers can do anything they want with
2314 the work, even for commercial purposes, as long as they give the creator
2315 credit). The licenses are built on copyright and do not cover other types of
2316 rights that creators might have in their works, like patents or trademarks.
2317     </p><p>
2318       Here are the six licenses:
2319     </p><p>
2320         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2321       </p><p>
2322       The Attribution license (CC BY) lets others distribute, remix, tweak, and
2323 build upon your work, even commercially, as long as they credit you for the
2324 original creation. This is the most accommodating of licenses
2325 offered. Recommended for maximum dissemination and use of licensed
2326 materials.
2327     </p><p>
2328         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2329       </p><p>
2330       The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
2331 build upon your work, even for commercial purposes, as long as they credit
2332 you and license their new creations under identical terms. This license is
2333 often compared to <span class="quote">“<span class="quote">copyleft</span>”</span> free and open source software
2334 licenses.  All new works based on yours will carry the same license, so any
2335 derivatives will also allow commercial use.
2336     </p><p>
2337         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2338       </p><p>
2339       The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
2340 commercial and noncommercial, as long as it is passed along unchanged with
2341 credit to you.
2342     </p><p>
2343         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2344       </p><p>
2345       The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
2346 and build upon your work noncommercially. Although their new works must also
2347 acknowledge you, they don’t have to license their derivative works on the
2348 same terms.
2349     </p><p>
2350         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2351       </p><p>
2352       The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others
2353 remix, tweak, and build upon your work noncommercially, as long as they
2354 credit you and license their new creations under the same terms.
2355     </p><p>
2356         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2357       </p><p>
2358       The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
2359 restrictive of our six main licenses, only allowing others to download your
2360 works and share them with others as long as they credit you, but they can’t
2361 change them or use them commercially.
2362     </p><p>
2363       In addition to these six licenses, Creative Commons has two public-domain
2364 tools—one for creators and the other for those who manage collections of
2365 existing works by authors whose terms of copyright have expired:
2366     </p><p>
2367         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2368       </p><p>
2369       CC0 enables authors and copyright owners to dedicate their works to the
2370 worldwide public domain (<span class="quote">“<span class="quote">no rights reserved</span>”</span>).
2371     </p><p>
2372         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2373       </p><p>
2374       The Creative Commons Public Domain Mark facilitates the labeling and
2375 discovery of works that are already free of known copyright restrictions.
2376     </p><p>
2377       In our case studies, some use just one Creative Commons license, others use
2378 several. Attribution (found in thirteen case studies)  and
2379 Attribution-ShareAlike (found in eight studies) were the most common, with
2380 the other licenses coming up in four or so case studies, including the
2381 public-domain tool CC0. Some of the organizations we profiled offer both
2382 digital content and software: by using open-source-software licenses for the
2383 software code and Creative Commons licenses for digital content, they
2384 amplify their involvement with and commitment to sharing.
2385     </p><p>
2386       There is a popular misconception that the three NonCommercial licenses
2387 offered by CC are the only options for those who want to make money off
2388 their work. As we hope this book makes clear, there are many ways to make
2389 endeavors that are Made with Creative Commons sustainable. Reserving
2390 commercial rights is only one of those ways. It is certainly true that a
2391 license that allows others to make commercial use of your work (CC BY, CC
2392 BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
2393 apply an Attribution (CC BY) license to your book, you can’t force a film
2394 company to pay you royalties if they turn your book into a feature-length
2395 film, or prevent another company from selling physical copies of your work.
2396     </p><p>
2397       The decision to choose a NonCommercial and/or NoDerivs license comes down to
2398 how much you need to retain control over the creative work. The
2399 NonCommercial and NoDerivs licenses are ways of reserving some significant
2400 portion of the exclusive bundle of rights that copyright grants to
2401 creators. In some cases, reserving those rights is important to how you
2402 bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
2403 license because they can’t give up on the dream of hitting the creative
2404 jackpot.  The music platform Tribe of Noise told us the NonCommercial
2405 licenses were popular among their users because people still held out the
2406 dream of having a major record label discover their work.
2407     </p><p>
2408       Other times the decision to use a more restrictive license is due to a
2409 concern about the integrity of the work. For example, the nonprofit
2410 TeachAIDS uses a NoDerivs license for its educational materials because the
2411 medical subject matter is particularly important to get right.
2412     </p><p>
2413       There is no one right way. The NonCommercial and NoDerivs restrictions
2414 reflect the values and preferences of creators about how their creative work
2415 should be reused, just as the ShareAlike license reflects a different set of
2416 values, one that is less about controlling access to their own work and more
2417 about ensuring that whatever gets created with their work is available to
2418 all on the same terms. Since the beginning of the commons, people have been
2419 setting up structures that helped regulate the way in which shared resources
2420 were used. The CC licenses are an attempt to standardize norms across all
2421 domains.
2422     </p><p>
2423       Note
2424     </p><p>
2425       For more about the licenses including examples and tips on sharing your work
2426 in the digital commons, start with the Creative Commons page called
2427 <span class="quote">“<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
2428     </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Parte II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
2429     The twenty-four case studies in this section were chosen from hundreds of
2430 nominations received from Kickstarter backers, Creative Commons staff, and
2431 the global Creative Commons community. We selected eighty potential
2432 candidates that represented a mix of industries, content types, revenue
2433 streams, and parts of the world.  Twelve of the case studies were selected
2434 from that group based on votes cast by Kickstarter backers, and the other
2435 twelve were selected by us.
2436   </p><p>
2437     We did background research and conducted interviews for each case study,
2438 based on the same set of basic questions about the endeavor.  The idea for
2439 each case study is to tell the story about the endeavor and the role sharing
2440 plays within it, largely the way in which it was told to us by those we
2441 interviewed.
2442   </p><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Capítulo 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2443         Arduino is a for-profit open-source electronics platform and computer
2444 hardware and software company. Founded in 2005 in Italy.
2445       </p><p>
2446           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2447         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2448 copies (sales of boards, modules, shields, and kits), licensing a trademark
2449 (fees paid by those who want to sell Arduino products using their name)
2450       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
2451       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
2452 Igoe, cofounders
2453       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2454     \textit{
2455         Profile written by Paul Stacey
2456       }
2457     \end{flushright}</td></tr></table></div><p>
2458       In 2005, at the Interaction Design Institute Ivrea in northern Italy,
2459 teachers and students needed an easy way to use electronics and programming
2460 to quickly prototype design ideas. As musicians, artists, and designers,
2461 they needed a platform that didn’t require engineering expertise. A group of
2462 teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
2463 Gianluca Martino, and David Mellis, built a platform that combined different
2464 open technologies. They called it Arduino. The platform integrated software,
2465 hardware, microcontrollers, and electronics. All aspects of the platform
2466 were openly licensed: hardware designs and documentation with the
2467 Attribution-Share-Alike license (CC BY-SA), and software with the GNU
2468 General Public License.
2469     </p><p>
2470       Arduino boards are able to read inputs—light on a sensor, a finger on a
2471 button, or a Twitter message—and turn it into outputs—activating a motor,
2472 turning on an LED, publishing something online. You send a set of
2473 instructions to the microcontroller on the board by using the Arduino
2474 programming language and Arduino software (based on a piece of open-source
2475 software called Processing, a programming tool used to make visual art).
2476     </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
2477 Tom says. Partly it was about supporting flexibility. The open-source nature
2478 of Arduino empowers users to modify it and create a lot of different
2479 variations, adding on top of what the founders build. David says this
2480 <span class="quote">“<span class="quote">ended up strengthening the platform far beyond what we had even
2481 thought of building.</span>”</span>
2482     </p><p>
2483       For Tom another factor was the impending closure of the Ivrea design
2484 school. He’d seen other organizations close their doors and all their work
2485 and research just disappear. Open-sourcing ensured that Arduino would
2486 outlive the Ivrea closure. Persistence is one thing Tom really likes about
2487 open source. If key people leave, or a company shuts down, an open-source
2488 product lives on. In Tom’s view, <span class="quote">“<span class="quote">Open sourcing makes it easier to
2489 trust a product.</span>”</span>
2490     </p><p>
2491       With the school closing, David and some of the other Arduino founders
2492 started a consulting firm and multidisciplinary design studio they called
2493 Tinker, in London. Tinker designed products and services that bridged the
2494 digital and the physical, and they taught people how to use new technologies
2495 in creative ways.  Revenue from Tinker was invested in sustaining and
2496 enhancing Arduino.
2497     </p><p>
2498       For Tom, part of Arduino’s success is because the founders made themselves
2499 the first customer of their product. They made products they themselves
2500 personally wanted. It was a matter of <span class="quote">“<span class="quote">I need this thing,</span>”</span> not
2501 <span class="quote">“<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
2502 being your own first customer makes you more confident and convincing at
2503 selling your product.
2504     </p><p>
2505       Arduino’s business model has evolved over time—and Tom says model is a
2506 grandiose term for it. Originally, they just wanted to make a few boards and
2507 get them out into the world. They started out with two hundred boards, sold
2508 them, and made a little profit. They used that to make another thousand,
2509 which generated enough revenue to make five thousand. In the early days,
2510 they simply tried to generate enough funding to keep the venture going day
2511 to day. When they hit the ten thousand mark, they started to think about
2512 Arduino as a company. By then it was clear you can open-source the design
2513 but still manufacture the physical product. As long as it’s a quality
2514 product and sold at a reasonable price, people will buy it.
2515     </p><p>
2516       Arduino now has a worldwide community of makers—students, hobbyists,
2517 artists, programmers, and professionals. Arduino provides a wiki called
2518 Playground (a wiki is where all users can edit and add pages, contributing
2519 to and benefiting from collective research). People share code, circuit
2520 diagrams, tutorials, DIY instructions, and tips and tricks, and show off
2521 their projects. In addition, there’s a multilanguage discussion forum where
2522 users can get help using Arduino, discuss topics like robotics, and make
2523 suggestions for new Arduino product designs. As of January 2017, 324,928
2524 members had made 2,989,489 posts on 379,044 topics. The worldwide community
2525 of makers has contributed an incredible amount of accessible knowledge
2526 helpful to novices and experts alike.
2527     </p><p>
2528       Transitioning Arduino from a project to a company was a big step.  Other
2529 businesses who made boards were charging a lot of money for them. Arduino
2530 wanted to make theirs available at a low price to people across a wide range
2531 of industries. As with any business, pricing was key. They wanted prices
2532 that would get lots of customers but were also high enough to sustain the
2533 business.
2534     </p><p>
2535       For a business, getting to the end of the year and not being in the red is a
2536 success. Arduino may have an open-licensing strategy, but they are still a
2537 business, and all the things needed to successfully run one still
2538 apply. David says, <span class="quote">“<span class="quote">If you do those other things well, sharing things
2539 in an open-source way can only help you.</span>”</span>
2540     </p><p>
2541       While openly licensing the designs, documentation, and software ensures
2542 longevity, it does have risks. There’s a possibility that others will create
2543 knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
2544 copies of their boards, redesign them, and even sell boards that copy the
2545 design. They don’t have to pay a license fee to Arduino or even ask
2546 permission. However, if they republish the design of the board, they have to
2547 give attribution to Arduino. If they change the design, they must release
2548 the new design using the same Creative Commons license to ensure that the
2549 new version is equally free and open.
2550     </p><p>
2551       Tom and David say that a lot of people have built companies off of Arduino,
2552 with dozens of Arduino derivatives out there. But in contrast to closed
2553 business models that can wring money out of the system over many years
2554 because there is no competition, Arduino founders saw competition as keeping
2555 them honest, and aimed for an environment of collaboration. A benefit of
2556 open over closed is the many new ideas and designs others have contributed
2557 back to the Arduino ecosystem, ideas and designs that Arduino and the
2558 Arduino community use and incorporate into new products.
2559     </p><p>
2560       Over time, the range of Arduino products has diversified, changing and
2561 adapting to new needs and challenges. In addition to simple entry level
2562 boards, new products have been added ranging from enhanced boards that
2563 provide advanced functionality and faster performance, to boards for
2564 creating Internet of Things applications, wearables, and 3-D printing. The
2565 full range of official Arduino products includes boards, modules (a smaller
2566 form-factor of classic boards), shields (elements that can be plugged onto a
2567 board to give it extra features), and kits.<a href="#ftn.idm920" class="footnote" name="idm920"><sup class="footnote">[112]</sup></a>
2568     </p><p>
2569       Arduino’s focus is on high-quality boards, well-designed support materials,
2570 and the building of community; this focus is one of the keys to their
2571 success. And being open lets you build a real community. David says
2572 Arduino’s community is a big strength and something that really does
2573 matter—in his words, <span class="quote">“<span class="quote">It’s good business.</span>”</span> When they started,
2574 the Arduino team had almost entirely no idea how to build a community. They
2575 started by conducting numerous workshops, working directly with people using
2576 the platform to make sure the hardware and software worked the way it was
2577 meant to work and solved people’s problems. The community grew organically
2578 from there.
2579     </p><p>
2580       A key decision for Arduino was trademarking the name. The founders needed a
2581 way to guarantee to people that they were buying a quality product from a
2582 company committed to open-source values and knowledge sharing. Trademarking
2583 the Arduino name and logo expresses that guarantee and helps customers
2584 easily identify their products, and the products sanctioned by them. If
2585 others want to sell boards using the Arduino name and logo, they have to pay
2586 a small fee to Arduino. This allows Arduino to scale up manufacturing and
2587 distribution while at the same time ensuring the Arduino brand isn’t hurt by
2588 low-quality copies.
2589     </p><p>
2590       Current official manufacturers are Smart Projects in Italy, SparkFun in the
2591 United States, and Dog Hunter in Taiwan/China.  These are the only
2592 manufacturers that are allowed to use the Arduino logo on their
2593 boards. Trademarking their brand provided the founders with a way to protect
2594 Arduino, build it out further, and fund software and tutorial
2595 development. The trademark-licensing fee for the brand became Arduino’s
2596 revenue-generating model.
2597     </p><p>
2598       How far to open things up wasn’t always something the founders perfectly
2599 agreed on. David, who was always one to advocate for opening things up more,
2600 had some fears about protecting the Arduino name, thinking people would be
2601 mad if they policed their brand. There was some early backlash with a
2602 project called Freeduino, but overall, trademarking and branding has been a
2603 critical tool for Arduino.
2604     </p><p>
2605       David encourages people and businesses to start by sharing everything as a
2606 default strategy, and then think about whether there is anything that really
2607 needs to be protected and why. There are lots of good reasons to not open up
2608 certain elements. This strategy of sharing everything is certainly the
2609 complete opposite of how today’s world operates, where nothing is
2610 shared. Tom suggests a business formalize which elements are based on open
2611 sharing and which are closed. An Arduino blog post from 2013 entitled
2612 <span class="quote">“<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
2613 does a great job of explaining the full complexities of how trademarking
2614 their brand has played out, distinguishing between official boards and those
2615 that are clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm930" class="footnote" name="idm930"><sup class="footnote">[113]</sup></a>
2616     </p><p>
2617       For David, an exciting aspect of Arduino is the way lots of people can use
2618 it to adapt technology in many different ways. Technology is always making
2619 more things possible but doesn’t always focus on making it easy to use and
2620 adapt. This is where Arduino steps in.  Arduino’s goal is <span class="quote">“<span class="quote">making
2621 things that help other people make things.</span>”</span>
2622     </p><p>
2623       Arduino has been hugely successful in making technology and electronics
2624 reach a larger audience. For Tom, Arduino has been about <span class="quote">“<span class="quote">the
2625 democratization of technology.</span>”</span> Tom sees Arduino’s open-source
2626 strategy as helping the world get over the idea that technology has to be
2627 protected. Tom says, <span class="quote">“<span class="quote">Technology is a literacy everyone should
2628 learn.</span>”</span>
2629     </p><p>
2630       Ultimately, for Arduino, going open has been good business—good for product
2631 development, good for distribution, good for pricing, and good for
2632 manufacturing.
2633     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm920" class="footnote"><p><a href="#idm920" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm930" class="footnote"><p><a href="#idm930" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Capítulo 5. Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2634         Ártica provides online courses and consulting services focused on how to use
2635 digital technology to share knowledge and enable collaboration in arts and
2636 culture. Founded in 2011 in Uruguay.
2637       </p><p>
2638           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2639         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
2640 services
2641       </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2642       </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
2643 Gemetto, cofounders
2644       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2645     \textit{
2646         Profile written by Sarah Hinchliff Pearson
2647       }
2648     \end{flushright}</td></tr></table></div><p>
2649       The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
2650 ultimate example of DIY. Not only are they successful entrepreneurs, the
2651 niche in which their small business operates is essentially one they built
2652 themselves.
2653     </p><p>
2654       Their dream jobs didn’t exist, so they created them.
2655     </p><p>
2656       In 2011, Mariana was a sociologist working for an international organization
2657 to develop research and online education about rural-development
2658 issues. Jorge was a psychologist, also working in online education. Both
2659 were bloggers and heavy users of social media, and both had a passion for
2660 arts and culture. They decided to take their skills in digital technology
2661 and online learning and apply them to a topic area they loved. They launched
2662 Ártica, an online business that provides education and consulting for people
2663 and institutions creating artistic and cultural projects on the Internet.
2664     </p><p>
2665       Ártica feels like a uniquely twenty-first century business. The small
2666 company has a global online presence with no physical offices. Jorge and
2667 Mariana live in Uruguay, and the other two full-time employees, who Jorge
2668 and Mariana have never actually met in person, live in Spain. They started
2669 by creating a MOOC (massive open online course) about remix culture and
2670 collaboration in the arts, which gave them a direct way to reach an
2671 international audience, attracting students from across Latin America and
2672 Spain.  In other words, it is the classic Internet story of being able to
2673 directly tap into an audience without relying upon gatekeepers or
2674 intermediaries.
2675     </p><p>
2676       Ártica offers personalized education and consulting services, and helps
2677 clients implement projects. All of these services are customized. They call
2678 it an <span class="quote">“<span class="quote">artisan</span>”</span> process because of the time and effort it takes
2679 to adapt their work for the particular needs of students and
2680 clients. <span class="quote">“<span class="quote">Each student or client is paying for a specific solution to
2681 his or her problems and questions,</span>”</span> Mariana said. Rather than sell
2682 access to their content, they provide it for free and charge for the
2683 personalized services.
2684     </p><p>
2685       When they started, they offered a smaller number of courses designed to
2686 attract large audiences. <span class="quote">“<span class="quote">Over the years, we realized that online
2687 communities are more specific than we thought,</span>”</span> Mariana said. Ártica
2688 now provides more options for classes and has lower enrollment in each
2689 course. This means they can provide more attention to individual students
2690 and offer classes on more specialized topics.
2691     </p><p>
2692       Online courses are their biggest revenue stream, but they also do more than
2693 a dozen consulting projects each year, ranging from digitization to event
2694 planning to marketing campaigns. Some are significant in scope, particularly
2695 when they work with cultural institutions, and some are smaller projects
2696 commissioned by individual artists.
2697     </p><p>
2698       Ártica also seeks out public and private funding for specific
2699 projects. Sometimes, even if they are unsuccessful in subsidizing a project
2700 like a new course or e-book, they will go ahead because they believe in
2701 it. They take the stance that every new project leads them to something new,
2702 every new resource they create opens new doors.
2703     </p><p>
2704       Ártica relies heavily on their free Creative Commons–licensed content to
2705 attract new students and clients. Everything they create—online education,
2706 blog posts, videos—is published under an Attribution-ShareAlike license (CC
2707 BY-SA). <span class="quote">“<span class="quote">We use a ShareAlike license because we want to give the
2708 greatest freedom to our students and readers, and we also want that freedom
2709 to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
2710 and remix their content is a fundamental value. <span class="quote">“<span class="quote">How can you offer an
2711 online educational service without giving permission to download, make and
2712 keep copies, or print the educational resources?</span>”</span> Jorge
2713 said. <span class="quote">“<span class="quote">If we want to do the best for our students—those who trust in
2714 us to the point that they are willing to pay online without face-to-face
2715 contact—we have to offer them a fair and ethical agreement.</span>”</span>
2716     </p><p>
2717       They also believe sharing their ideas and expertise openly helps them build
2718 their reputation and visibility. People often share and cite their work. A
2719 few years ago, a publisher even picked up one of their e-books and
2720 distributed printed copies. Ártica views reuse of their work as a way to
2721 open up new opportunities for their business.
2722     </p><p>
2723       This belief that openness creates new opportunities reflects another
2724 belief—in serendipity. When describing their process for creating content,
2725 they spoke of all of the spontaneous and organic ways they find
2726 inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative process starts with a
2727 conversation between us, or with friends from other projects,</span>”</span> Jorge
2728 said. <span class="quote">“<span class="quote">That can be the first step for a new blog post or another
2729 simple piece of content, which can evolve to a more complex product in the
2730 future, like a course or a book.</span>”</span>
2731     </p><p>
2732       Rather than planning their work in advance, they let their creative process
2733 be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we don’t need to work hard in
2734 order to get good professional results, but the design process is more
2735 flexible,</span>”</span> Jorge said. They share early and often, and they adjust
2736 based on what they learn, always exploring and testing new ideas and ways of
2737 operating. In many ways, for them, the process is just as important as the
2738 final product.
2739     </p><p>
2740       People and relationships are also just as important, sometimes
2741 more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more important
2742 to pay attention to people and process, rather than content or specific
2743 formats or materials,</span>”</span> Mariana said.  <span class="quote">“<span class="quote">Materials and content
2744 are fluid. The important thing is the relationships.</span>”</span>
2745     </p><p>
2746       Ártica believes in the power of the network. They seek to make connections
2747 with people and institutions across the globe so they can learn from them
2748 and share their knowledge.
2749     </p><p>
2750       At the core of everything Ártica does is a set of values.  <span class="quote">“<span class="quote">Good
2751 content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We also think that it is
2752 very important to take a stand for some things in the cultural
2753 sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
2754 (the movement promoting the freedom to modify and distribute creative work)
2755 and work to demonstrate the intersection between free culture and other
2756 social-justice movements. Their efforts to involve people in their work and
2757 enable artists and cultural institutions to better use technology are all
2758 tied closely to their belief system.  Ultimately, what drives their work is
2759 a mission to democratize art and culture.
2760     </p><p>
2761       Of course, Ártica also has to make enough money to cover its expenses. Human
2762 resources are, by far, their biggest expense. They tap a network of
2763 collaborators on a case-by-case basis and hire contractors for specific
2764 projects. Whenever possible, they draw from artistic and cultural resources
2765 in the commons, and they rely on free software. Their operation is small,
2766 efficient, and sustainable, and because of that, it is a success.
2767     </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
2768 said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an approach that is
2769 very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
2770 at every level. For Mariana and Jorge, success means doing what brings them
2771 personal meaning and purpose, and doing it sustainably and collaboratively.
2772     </p><p>
2773       In their work with younger artists, Mariana and Jorge try to emphasize that
2774 this model of success is just as valuable as the picture of success we get
2775 from the media. <span class="quote">“<span class="quote">If they seek only the traditional type of success,
2776 they will get frustrated,</span>”</span> Mariana said. <span class="quote">“<span class="quote">We try to show them
2777 another image of what it looks like.</span>”</span>
2778     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Capítulo 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2779         The Blender Institute is an animation studio that creates 3-D films using
2780 Blender software. Founded in 2006 in the Netherlands.
2781       </p><p>
2782           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
2783         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
2784 (subscription-based), charging for physical copies, selling merchandise
2785       </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
2786       </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
2787 coordinator
2788       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2789     \textit{
2790         Profile written by Sarah Hinchliff Pearson
2791       }
2792     \end{flushright}</td></tr></table></div><p>
2793       For Ton Roosendaal, the creator of Blender software and its related
2794 entities, sharing is practical. Making their 3-D content creation software
2795 available under a free software license has been integral to its development
2796 and popularity. Using that software to make movies that were licensed with
2797 Creative Commons pushed that development even further. Sharing enables
2798 people to participate and to interact with and build upon the technology and
2799 content they create in a way that benefits Blender and its community in
2800 concrete ways.
2801     </p><p>
2802       Each open-movie project Blender runs produces a host of openly licensed
2803 outputs, not just the final film itself but all of the source material as
2804 well. The creative process also enhances the development of the Blender
2805 software because the technical team responds directly to the needs of the
2806 film production team, creating tools and features that make their lives
2807 easier. And, of course, each project involves a long, rewarding process for
2808 the creative and technical community working together.
2809     </p><p>
2810       Rather than just talking about the theoretical benefits of sharing and free
2811 culture, Ton is very much about doing and making free culture. Blender’s
2812 production coordinator Francesco Siddi told us, <span class="quote">“<span class="quote">Ton believes if you
2813 don’t make content using your tools, then you’re not doing anything.</span>”</span>
2814     </p><p>
2815       Blender’s history begins in the late 1990s, when Ton created the Blender
2816 software. Originally, the software was an in-house resource for his
2817 animation studio based in the Netherlands.  Investors became interested in
2818 the software, so he began marketing the software to the public, offering a
2819 free version in addition to a paid version. Sales were disappointing, and
2820 his investors gave up on the endeavor in the early 2000s. He made a deal
2821 with investors—if he could raise enough money, he could then make the
2822 Blender software available under the GNU General Public License.
2823     </p><p>
2824       This was long before Kickstarter and other online crowdfunding sites
2825 existed, but Ton ran his own version of a crowdfunding campaign and quickly
2826 raised the money he needed. The Blender software became freely available for
2827 anyone to use. Simply applying the General Public License to the software,
2828 however, was not enough to create a thriving community around it. Francesco
2829 told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and their
2830 vision of how people work together. Ton is a fantastic community builder and
2831 manager, and he put a lot of work into fostering a community of developers
2832 so that the project could live.</span>”</span>
2833     </p><p>
2834       Like any successful free and open-source software project, Blender developed
2835 quickly because the community could make fixes and
2836 improvements. <span class="quote">“<span class="quote">Software should be free and open to hack,</span>”</span>
2837 Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing the same thing in the
2838 dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
2839 steward the software development and maintenance.
2840     </p><p>
2841       After a few years, Ton began looking for new ways to push development of the
2842 software. He came up with the idea of creating CC-licensed films using the
2843 Blender software. Ton put a call online for all interested and skilled
2844 artists. Francesco said the idea was to get the best artists available, put
2845 them in a building together with the best developers, and have them work
2846 together.  They would not only produce high-quality openly licensed content,
2847 they would improve the Blender software in the process.
2848     </p><p>
2849       They turned to crowdfunding to subsidize the costs of the project.  They had
2850 about twenty people working full-time for six to ten months, so the costs
2851 were significant. Francesco said that when their crowdfunding campaign
2852 succeeded, people were astounded.  <span class="quote">“<span class="quote">The idea that making money was
2853 possible by producing CC-licensed material was mind-blowing to
2854 people,</span>”</span> he said.  <span class="quote">“<span class="quote">They were like, <span class="quote">‘<span class="quote">I have to see it to
2855 believe it.</span>’</span></span>”</span>
2856     </p><p>
2857       The first film, which was released in 2006, was an experiment. It was so
2858 successful that Ton decided to set up the Blender Institute, an entity
2859 dedicated to hosting open-movie projects. The Blender Institute’s next
2860 project was an even bigger success. The film, Big Buck Bunny, went viral,
2861 and its animated characters were picked up by marketers.
2862     </p><p>
2863       Francesco said that, over time, the Blender Institute projects have gotten
2864 bigger and more prominent. That means the filmmaking process has become more
2865 complex, combining technical experts and artists who focus on
2866 storytelling. Francesco says the process is almost on an industrial scale
2867 because of the number of moving parts. This requires a lot of specialized
2868 assistance, but the Blender Institute has no problem finding the talent it
2869 needs to help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
2870 film projects because the talent emerges naturally,</span>”</span> Francesco
2871 said. <span class="quote">“<span class="quote">So many people want to work with us, and we can’t always hire
2872 them because of budget constraints.</span>”</span>
2873     </p><p>
2874       Blender has had a lot of success raising money from its community over the
2875 years. In many ways, the pitch has gotten easier to make.  Not only is
2876 crowdfunding simply more familiar to the public, but people know and trust
2877 Blender to deliver, and Ton has developed a reputation as an effective
2878 community leader and visionary for their work. <span class="quote">“<span class="quote">There is a whole
2879 community who sees and understands the benefit of these projects,</span>”</span>
2880 Francesco said.
2881     </p><p>
2882       While these benefits of each open-movie project make a compelling pitch for
2883 crowdfunding campaigns, Francesco told us the Blender Institute has found
2884 some limitations in the standard crowdfunding model where you propose a
2885 specific project and ask for funding.  <span class="quote">“<span class="quote">Once a project is over,
2886 everyone goes home,</span>”</span> he said. <span class="quote">“<span class="quote">It is great fun, but then it
2887 ends. That is a problem.</span>”</span>
2888     </p><p>
2889       To make their work more sustainable, they needed a way to receive ongoing
2890 support rather than on a project-by-project basis. Their solution is Blender
2891 Cloud, a subscription-style crowdfunding model akin to the online
2892 crowdfunding platform, Patreon. For about ten euros each month, subscribers
2893 get access to download everything the Blender Institute produces—software,
2894 art, training, and more.  All of the assets are available under an
2895 Attribution license (CC BY) or placed in the public domain (CC0), but they
2896 are initially made available only to subscribers. Blender Cloud enables
2897 subscribers to follow Blender’s movie projects as they develop, sharing
2898 detailed information and content used in the creative process. Blender Cloud
2899 also has extensive training materials and libraries of characters and other
2900 assets used in various projects.
2901     </p><p>
2902       The continuous financial support provided by Blender Cloud subsidizes five
2903 to six full-time employees at the Blender Institute. Francesco says their
2904 goal is to grow their subscriber base. <span class="quote">“<span class="quote">This is our freedom,</span>”</span>
2905 he told us, <span class="quote">“<span class="quote">and for artists, freedom is everything.</span>”</span>
2906     </p><p>
2907       Blender Cloud is the primary revenue stream of the Blender Institute. The
2908 Blender Foundation is funded primarily by donations, and that money goes
2909 toward software development and maintenance. The revenue streams of the
2910 Institute and Foundation are deliberately kept separate. Blender also has
2911 other revenue streams, such as the Blender Store, where people can purchase
2912 DVDs, T-shirts, and other Blender products.
2913     </p><p>
2914       Ton has worked on projects relating to his Blender software for nearly
2915 twenty years. Throughout most of that time, he has been committed to making
2916 the software and the content produced with the software free and
2917 open. Selling a license has never been part of the business model.
2918     </p><p>
2919       Since 2006, he has been making films available along with all of their
2920 source material. He says he has hardly ever seen people stepping into
2921 Blender’s shoes and trying to make money off of their content. Ton believes
2922 this is because the true value of what they do is in the creative and
2923 production process. <span class="quote">“<span class="quote">Even when you share everything, all your original
2924 sources, it still takes a lot of talent, skills, time, and budget to
2925 reproduce what you did,</span>”</span> Ton said.
2926     </p><p>
2927       For Ton and Blender, it all comes back to doing.
2928     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Capítulo 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2929         Cards Against Humanity is a private, for-profit company that makes a popular
2930 party game by the same name. Founded in 2011 in the U.S.
2931       </p><p>
2932           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
2933         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2934 copies
2935       </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
2936       </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
2937       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2938     \textit{
2939         Profile written by Sarah Hinchliff Pearson
2940       }
2941     \end{flushright}</td></tr></table></div><p>
2942       If you ask cofounder Max Temkin, there is nothing particularly interesting
2943 about the Cards Against Humanity business model.  <span class="quote">“<span class="quote">We make a
2944 product. We sell it for money. Then we spend less money than we
2945 make,</span>”</span> Max said.
2946     </p><p>
2947       He is right. Cards Against Humanity is a simple party game, modeled after
2948 the game Apples to Apples. To play, one player asks a question or
2949 fill-in-the-blank statement from a black card, and the other players submit
2950 their funniest white card in response.  The catch is that all of the cards
2951 are filled with crude, gruesome, and otherwise awful things. For the right
2952 kind of people (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
2953 Humanity advertising), this makes for a hilarious and fun game.
2954     </p><p>
2955       The revenue model is simple. Physical copies of the game are sold for a
2956 profit. And it works. At the time of this writing, Cards Against Humanity is
2957 the number-one best-selling item out of all toys and games on Amazon. There
2958 are official expansion packs available, and several official themed packs
2959 and international editions as well.
2960     </p><p>
2961       But Cards Against Humanity is also available for free. Anyone can download a
2962 digital version of the game on the Cards Against Humanity website. More than
2963 one million people have downloaded the game since the company began tracking
2964 the numbers.
2965     </p><p>
2966       The game is available under an Attribution-NonCommercial-ShareAlike license
2967 (CC BY-NC-SA). That means, in addition to copying the game, anyone can
2968 create new versions of the game as long as they make it available under the
2969 same noncommercial terms. The ability to adapt the game is like an entire
2970 new game unto itself.
2971     </p><p>
2972       All together, these factors—the crass tone of the game and company, the free
2973 download, the openness to fans remixing the game—give the game a massive
2974 cult following.
2975     </p><p>
2976       Their success is not the result of a grand plan. Instead, Cards Against
2977 Humanity was the last in a long line of games and comedy projects that Max
2978 Temkin and his friends put together for their own amusement. As Max tells
2979 the story, they made the game so they could play it themselves on New Year’s
2980 Eve because they were too nerdy to be invited to other parties. The game was
2981 a hit, so they decided to put it up online as a free PDF. People started
2982 asking if they could pay to have the game printed for them, and eventually
2983 they decided to run a Kickstarter to fund the printing.  They set their
2984 Kickstarter goal at $4,000—and raised $15,000. The game was officially
2985 released in May 2011.
2986     </p><p>
2987       The game caught on quickly, and it has only grown more popular over
2988 time. Max says the eight founders never had a meeting where they decided to
2989 make it an ongoing business. <span class="quote">“<span class="quote">It kind of just happened,</span>”</span> he
2990 said.
2991     </p><p>
2992       But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> belies marketing
2993 genius. Just like the game, the Cards Against Humanity brand is irreverent
2994 and memorable. It is hard to forget a company that calls the FAQ on their
2995 website <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
2996     </p><p>
2997       Like most quality satire, however, there is more to the joke than vulgarity
2998 and shock value. The company’s marketing efforts around Black Friday
2999 illustrate this particularly well. For those outside the United States,
3000 Black Friday is the term for the day after the Thanksgiving holiday, the
3001 biggest shopping day of the year. It is an incredibly important day for
3002 Cards Against Humanity, like it is for all U.S. retailers. Max said they
3003 struggled with what to do on Black Friday because they didn’t want to
3004 support what he called the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has
3005 become, particularly since it follows a day that is about being grateful for
3006 what you have. In 2013, after deliberating, they decided to have an
3007 Everything Costs $5 More sale.
3008     </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering if our
3009 fans were going to hate us for it,</span>”</span> he said.  <span class="quote">“<span class="quote">But it made us
3010 laugh so we went with it. People totally caught the joke.</span>”</span>
3011     </p><p>
3012       This sort of bold transparency delights the media, but more importantly, it
3013 engages their fans. <span class="quote">“<span class="quote">One of the most surprising things you can do in
3014 capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks
3015 people that there is transparency about what you are doing.</span>”</span>
3016     </p><p>
3017       Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do something a
3018 little subversive and unexpected, the public wants to be a part of the
3019 joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
3020 where people literally paid them five dollars for no reason. Their fans
3021 wanted to make the joke funnier by making it successful. They made $70,000
3022 in a single day.
3023     </p><p>
3024       This remarkable trust they have in their customers is what inspired their
3025 decision to apply a Creative Commons license to the game. Trusting your
3026 customers to reuse and remix your work requires a leap of faith. Cards
3027 Against Humanity obviously isn’t afraid of doing the unexpected, but there
3028 are lines even they do not want to cross. Before applying the license, Max
3029 said they worried that some fans would adapt the game to include all of the
3030 jokes they intentionally never made because they crossed that
3031 line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
3032 said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
3033 times over because there are so many benefits.</span>”</span>
3034     </p><p>
3035       Any successful product inspires its biggest fans to create remixes of it,
3036 but unsanctioned adaptations are more likely to fly under the radar. The
3037 Creative Commons license gives fans of Cards Against Humanity the freedom to
3038 run with the game and copy, adapt, and promote their creations openly. Today
3039 there are thousands of fan expansions of the game.
3040     </p><p>
3041       Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the most people
3042 involved. Making the game free and available under a CC license led to the
3043 unbelievable situation where we are one of the best-marketed games in the
3044 world, and we have never spent a dime on marketing.</span>”</span>
3045     </p><p>
3046       Of course, there are limits to what the company allows its customers to do
3047 with the game. They chose the Attribution-NonCommercial-ShareAlike license
3048 because it restricts people from using the game to make money. It also
3049 requires that adaptations of the game be made available under the same
3050 licensing terms if they are shared publicly. Cards Against Humanity also
3051 polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can use our
3052 brand and our game and make money off of it,</span>”</span> Max said. About 99.9
3053 percent of the time, they just send an email to those making commercial use
3054 of the game, and that is the end of it. There have only been a handful of
3055 instances where they had to get a lawyer involved.
3056     </p><p>
3057       Just as there is more than meets the eye to the Cards Against Humanity
3058 business model, the same can be said of the game itself.  To be playable,
3059 every white card has to work syntactically with enough black cards. The
3060 eight creators invest an incredible amount of work into creating new cards
3061 for the game. <span class="quote">“<span class="quote">We have daylong arguments about commas,</span>”</span> Max
3062 said. <span class="quote">“<span class="quote">The slacker tone of the cards gives people the impression that
3063 it is easy to write them, but it is actually a lot of work and
3064 quibbling.</span>”</span>
3065     </p><p>
3066       That means cocreation with their fans really doesn’t work. The company has a
3067 submission mechanism on their website, and they get thousands of
3068 suggestions, but it is very rare that a submitted card is adopted. Instead,
3069 the eight initial creators remain the primary authors of expansion decks and
3070 other new products released by the company. Interestingly, the creativity of
3071 their customer base is really only an asset to the company once their
3072 original work is created and published when people make their own
3073 adaptations of the game.
3074     </p><p>
3075       For all of their success, the creators of Cards Against Humanity are only
3076 partially motivated by money. Max says they have always been interested in
3077 the Walt Disney philosophy of financial success. <span class="quote">“<span class="quote">We don’t make jokes
3078 and games to make money—we make money so we can make more jokes and
3079 games,</span>”</span> he said.
3080     </p><p>
3081       In fact, the company has given more than $4 million to various charities and
3082 causes. <span class="quote">“<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">“<span class="quote">We all
3083 have other interests and hobbies. We are passionate about other things going
3084 on in our lives. A lot of the activism we have done comes out of us taking
3085 things from the rest of our lives and channeling some of the excitement from
3086 the game into it.</span>”</span>
3087     </p><p>
3088       Seeing money as fuel rather than the ultimate goal is what has enabled them
3089 to embrace Creative Commons licensing without reservation. CC licensing
3090 ended up being a savvy marketing move for the company, but nonetheless,
3091 giving up exclusive control of your work necessarily means giving up some
3092 opportunities to extract more money from customers.
3093     </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
3094 licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">If your only goal is to make a lot of
3095 money, then CC is not best strategy. This kind of business model, though,
3096 speaks to your values, and who you are and why you’re making things.</span>”</span>
3097     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Capítulo 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3098         The Conversation is an independent source of news, sourced from the academic
3099 and research community and delivered direct to the public over the
3100 Internet. Founded in 2011 in Australia.
3101       </p><p>
3102           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3103         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
3104 (universities pay membership fees to have their faculties serve as writers),
3105 grant funding
3106       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
3107       </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
3108       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3109     \textit{
3110         Profile written by Paul Stacey
3111       }
3112     \end{flushright}</td></tr></table></div><p>
3113       Andrew Jaspan spent years as an editor of major newspapers including the
3114 Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
3115 Australia. He experienced firsthand the decline of newspapers, including the
3116 collapse of revenues, layoffs, and the constant pressure to reduce
3117 costs. After he left the Age in 2005, his concern for the future journalism
3118 didn’t go away. Andrew made a commitment to come up with an alternative
3119 model.
3120     </p><p>
3121       Around the time he left his job as editor of the Melbourne Age, Andrew
3122 wondered where citizens would get news grounded in fact and evidence rather
3123 than opinion or ideology. He believed there was still an appetite for
3124 journalism with depth and substance but was concerned about the increasing
3125 focus on the sensational and sexy.
3126     </p><p>
3127       While at the Age, he’d become friends with a vice-chancellor of a university
3128 in Melbourne who encouraged him to talk to smart people across campus—an
3129 astrophysicist, a Nobel laureate, earth scientists, economists . . . These
3130 were the kind of smart people he wished were more involved in informing the
3131 world about what is going on and correcting the errors that appear in
3132 media. However, they were reluctant to engage with mass media. Often,
3133 journalists didn’t understand what they said, or unilaterally chose what
3134 aspect of a story to tell, putting out a version that these people felt was
3135 wrong or mischaracterized. Newspapers want to attract a mass
3136 audience. Scholars want to communicate serious news, findings, and
3137 insights. It’s not a perfect match. Universities are massive repositories of
3138 knowledge, research, wisdom, and expertise. But a lot of that stays behind a
3139 wall of their own making—there are the walled garden and ivory tower
3140 metaphors, and in more literal terms, the paywall. Broadly speaking,
3141 universities are part of society but disconnected from it. They are an
3142 enormous public resource but not that good at presenting their expertise to
3143 the wider public.
3144     </p><p>
3145       Andrew believed he could to help connect academics back into the public
3146 arena, and maybe help society find solutions to big problems. He thought
3147 about pairing professional editors with university and research experts,
3148 working one-on-one to refine everything from story structure to headline,
3149 captions, and quotes.  The editors could help turn something that is
3150 academic into something understandable and readable. And this would be a key
3151 difference from traditional journalism—the subject matter expert would get a
3152 chance to check the article and give final approval before it is
3153 published. Compare this with reporters just picking and choosing the quotes
3154 and writing whatever they want.
3155     </p><p>
3156       The people he spoke to liked this idea, and Andrew embarked on raising money
3157 and support with the help of the Commonwealth Scientific and Industrial
3158 Research Organisation (CSIRO), the University of Melbourne, Monash
3159 University, the University of Technology Sydney, and the University of
3160 Western Australia. These founding partners saw the value of an independent
3161 information channel that would also showcase the talent and knowledge of the
3162 university and research sector. With their help, in 2011, the Conversation,
3163 was launched as an independent news site in Australia. Everything published
3164 in the Conversation is openly licensed with Creative Commons.
3165     </p><p>
3166       The Conversation is founded on the belief that underpinning a functioning
3167 democracy is access to independent, high-quality, informative
3168 journalism. The Conversation’s aim is for people to have a better
3169 understanding of current affairs and complex issues—and hopefully a better
3170 quality of public discourse. The Conversation sees itself as a source of
3171 trusted information dedicated to the public good. Their core mission is
3172 simple: to provide readers with a reliable source of evidence-based
3173 information.
3174     </p><p>
3175       Andrew worked hard to reinvent a methodology for creating reliable, credible
3176 content. He introduced strict new working practices, a charter, and codes of
3177 conduct.<a href="#ftn.idm1111" class="footnote" name="idm1111"><sup class="footnote">[114]</sup></a> These include fully disclosing
3178 who every author is (with their relevant expertise); who is funding their
3179 research; and if there are any potential or real conflicts of interest. Also
3180 important is where the content originates, and even though it comes from the
3181 university and research community, it still needs to be fully disclosed. The
3182 Conversation does not sit behind a paywall. Andrew believes access to
3183 information is an issue of equality—everyone should have access, like access
3184 to clean water.  The Conversation is committed to an open and free
3185 Internet.  Everyone should have free access to their content, and be able to
3186 share it or republish it.
3187     </p><p>
3188       Creative Commons help with these goals; articles are published with the
3189 Attribution- NoDerivs license (CC BY-ND). They’re freely available for
3190 others to republish elsewhere as long as attribution is given and the
3191 content is not edited. Over five years, more than twenty-two thousand sites
3192 have republished their content. The Conversation website gets about 2.9
3193 million unique views per month, but through republication they have
3194 thirty-five million readers. This couldn’t have been done without the
3195 Creative Commons license, and in Andrew’s view, Creative Commons is central
3196 to everything the Conversation does.
3197     </p><p>
3198       When readers come across the Conversation, they seem to like what they find
3199 and recommend it to their friends, peers, and networks.  Readership has
3200 grown primarily through word of mouth. While they don’t have sales and
3201 marketing, they do promote their work through social media (including
3202 Twitter and Facebook), and by being an accredited supplier to Google News.
3203     </p><p>
3204       It’s usual for the founders of any company to ask themselves what kind of
3205 company it should be. It quickly became clear to the founders of the
3206 Conversation that they wanted to create a public good rather than make money
3207 off of information. Most media companies are working to aggregate as many
3208 eyeballs as possible and sell ads. The Conversation founders didn’t want
3209 this model. It takes no advertising and is a not-for-profit venture.
3210     </p><p>
3211       There are now different editions of the Conversation for Africa, the United
3212 Kingdom, France, and the United States, in addition to the one for
3213 Australia. All five editions have their own editorial mastheads, advisory
3214 boards, and content. The Conversation’s global virtual newsroom has roughly
3215 ninety staff working with thirty-five thousand academics from over sixteen
3216 hundred universities around the world. The Conversation would like to be
3217 working with university scholars from even more parts of the world.
3218     </p><p>
3219       Additionally, each edition has its own set of founding partners, strategic
3220 partners, and funders. They’ve received funding from foundations,
3221 corporates, institutions, and individual donations, but the Conversation is
3222 shifting toward paid memberships by universities and research institutions
3223 to sustain operations. This would safeguard the current service and help
3224 improve coverage and features.
3225     </p><p>
3226       When professors from member universities write an article, there is some
3227 branding of the university associated with the article. On the Conversation
3228 website, paying university members are listed as <span class="quote">“<span class="quote">members and
3229 funders.</span>”</span> Early participants may be designated as <span class="quote">“<span class="quote">founding
3230 members,</span>”</span> with seats on the editorial advisory board.
3231     </p><p>
3232       Academics are not paid for their contributions, but they get free editing
3233 from a professional (four to five hours per piece, on average). They also
3234 get access to a large audience. Every author and member university has
3235 access to a special analytics dashboard where they can check the reach of an
3236 article. The metrics include what people are tweeting, the comments,
3237 countries the readership represents, where the article is being republished,
3238 and the number of readers per article.
3239     </p><p>
3240       The Conversation plans to expand the dashboard to show not just reach but
3241 impact. This tracks activities, behaviors, and events that occurred as a
3242 result of publication, including things like a scholar being asked to go on
3243 a show to discuss their piece, give a talk at a conference, collaborate,
3244 submit a journal paper, and consult a company on a topic.
3245     </p><p>
3246       These reach and impact metrics show the benefits of membership.  With the
3247 Conversation, universities can engage with the public and show why they’re
3248 of value.
3249     </p><p>
3250       With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
3251 Conversation represents a new form of journalism that contributes to a more
3252 informed citizenry and improved democracy around the world. Its open
3253 business model and use of Creative Commons show how it’s possible to
3254 generate both a public good and operational revenue at the same time.
3255     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1111" class="footnote"><p><a href="#idm1111" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Capítulo 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3256         Cory Doctorow is a science fiction writer, activist, blogger, and
3257 journalist. Based in the U.S.
3258       </p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
3259       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
3260 copies (book sales), pay-what-you-want, selling translation rights to books
3261       </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
3262       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3263     \textit{
3264         Profile written by Sarah Hinchliff Pearson
3265       }
3266     \end{flushright}</td></tr></table></div><p>
3267       Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he is
3268 adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the idea that you
3269 can take a thing that has certain qualities, remove the qualities, and go on
3270 selling it,</span>”</span> he said. <span class="quote">“<span class="quote">I’m not out there trying to figure out
3271 how to be a brand. I’m doing this thing that animates me to work crazy
3272 insane hours because it’s the most important thing I know how to do.</span>”</span>
3273     </p><p>
3274       Cory calls himself an entrepreneur. He likes to say his success came from
3275 making stuff people happened to like and then getting out of the way of them
3276 sharing it.
3277     </p><p>
3278       He is a science fiction writer, activist, blogger, and journalist.
3279 Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003,
3280 his work has been published under a Creative Commons license. Cory is
3281 coeditor of the popular CC-licensed site Boing Boing, where he writes about
3282 technology, politics, and intellectual property. He has also written several
3283 nonfiction books, including the most recent Information Doesn’t Want to Be
3284 Free, about the ways in which creators can make a living in the Internet
3285 age.
3286     </p><p>
3287       Cory primarily makes money by selling physical books, but he also takes on
3288 paid speaking gigs and is experimenting with pay-what-you-want models for
3289 his work.
3290     </p><p>
3291       While Cory’s extensive body of fiction work has a large following, he is
3292 just as well known for his activism. He is an outspoken opponent of
3293 restrictive copyright and digital-rights-management (DRM) technology used to
3294 lock up content because he thinks both undermine creators and the public
3295 interest. He is currently a special adviser at the Electronic Frontier
3296 Foundation, where he is involved in a lawsuit challenging the U.S. law that
3297 protects DRM.  Cory says his political work doesn’t directly make him money,
3298 but if he gave it up, he thinks he would lose credibility and, more
3299 importantly, lose the drive that propels him to create. <span class="quote">“<span class="quote">My political
3300 work is a different expression of the same artistic-political urge,</span>”</span>
3301 he said. <span class="quote">“<span class="quote">I have this suspicion that if I gave up the things that
3302 didn’t make me money, the genuineness would leach out of what I do, and the
3303 quality that causes people to like what I do would be gone.</span>”</span>
3304     </p><p>
3305       Cory has been financially successful, but money is not his primary
3306 motivation. At the start of his book Information Doesn’t Want to Be Free, he
3307 stresses how important it is not to become an artist if your goal is to get
3308 rich. <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
3309 lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It
3310 might work, but it almost certainly won’t. Though, of course, someone always
3311 wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
3312 <span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no matter
3313 what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote.  <span class="quote">“<span class="quote">Long before
3314 I wrote to keep myself fed and sheltered, I was writing to keep myself
3315 sane.</span>”</span>
3316     </p><p>
3317       Just as money is not his primary motivation to create, money is not his
3318 primary motivation to share. For Cory, sharing his work with Creative
3319 Commons is a moral imperative. <span class="quote">“<span class="quote">It felt morally right,</span>”</span> he said
3320 of his decision to adopt Creative Commons licenses. <span class="quote">“<span class="quote">I felt like I
3321 wasn’t contributing to the culture of surveillance and censorship that has
3322 been created to try to stop copying.</span>”</span> In other words, using CC
3323 licenses symbolizes his worldview.
3324     </p><p>
3325       He also feels like there is a solid commercial basis for licensing his work
3326 with Creative Commons. While he acknowledges he hasn’t been able to do a
3327 controlled experiment to compare the commercial benefits of licensing with
3328 CC against reserving all rights, he thinks he has sold more books using a CC
3329 license than he would have without it. Cory says his goal is to convince
3330 people they should pay him for his work. <span class="quote">“<span class="quote">I started by not calling
3331 them thieves,</span>”</span> he said.
3332     </p><p>
3333       Cory started using CC licenses soon after they were first created.  At the
3334 time his first novel came out, he says the science fiction genre was overrun
3335 with people scanning and downloading books without permission. When he and
3336 his publisher took a closer look at who was doing that sort of thing online,
3337 they realized it looked a lot like book promotion. <span class="quote">“<span class="quote">I knew there was a
3338 relationship between having enthusiastic readers and having a successful
3339 career as a writer,</span>”</span> he said. <span class="quote">“<span class="quote">At the time, it took eighty
3340 hours to OCR a book, which is a big effort. I decided to spare them the time
3341 and energy, and give them the book for free in a format destined to
3342 spread.</span>”</span>
3343     </p><p>
3344       Cory admits the stakes were pretty low for him when he first adopted
3345 Creative Commons licenses. He only had to sell two thousand copies of his
3346 book to break even. People often said he was only able to use CC licenses
3347 successfully at that time because he was just starting out. Now they say he
3348 can only do it because he is an established author.
3349     </p><p>
3350       The bottom line, Cory says, is that no one has found a way to prevent people
3351 from copying the stuff they like. Rather than fighting the tide, Cory makes
3352 his work intrinsically shareable.  <span class="quote">“<span class="quote">Getting the hell out of the way
3353 for people who want to share their love of you with other people sounds
3354 obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
3355     </p><p>
3356       Making his work available under Creative Commons licenses enables him to
3357 view his biggest fans as his ambassadors. <span class="quote">“<span class="quote">Being open to fan activity
3358 makes you part of the conversation about what fans do with your work and how
3359 they interact with it,</span>”</span> he said.  Cory’s own website routinely
3360 highlights cool things his audience has done with his work. Unlike
3361 corporations like Disney that tend to have a hands-off relationship with
3362 their fan activity, he has a symbiotic relationship with his
3363 audience. <span class="quote">“<span class="quote">Engaging with your audience can’t guarantee you
3364 success,</span>”</span> he said.  <span class="quote">“<span class="quote">And Disney is an example of being able to
3365 remain aloof and still being the most successful company in the creative
3366 industry in history. But I figure my likelihood of being Disney is pretty
3367 slim, so I should take all the help I can get.</span>”</span>
3368     </p><p>
3369       His first book was published under the most restrictive Creative Commons
3370 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only
3371 verbatim copying for noncommercial purposes. His later work is published
3372 under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3373 gives people the right to adapt his work for noncommercial purposes but only
3374 if they share it back under the same license terms. Before releasing his
3375 work under a CC license that allows adaptations, he always sells the right
3376 to translate the book to other languages to a commercial publisher first. He
3377 wants to reach new potential buyers in other parts of the world, and he
3378 thinks it is more difficult to get people to pay for translations if there
3379 are fan translations already available for free.
3380     </p><p>
3381       In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
3382 to thinking like a dandelion. Dandelions produce thousands of seeds each
3383 spring, and they are blown into the air going in every direction. The
3384 strategy is to maximize the number of blind chances the dandelion has for
3385 continuing its genetic line. Similarly, he says there are lots of people out
3386 there who may want to buy creative work or compensate authors for it in some
3387 other way. <span class="quote">“<span class="quote">The more places your work can find itself, the greater the
3388 likelihood that it will find one of those would-be customers in some
3389 unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The
3390 copies that others make of my work cost me nothing, and present the
3391 possibility that I’ll get something.</span>”</span>
3392     </p><p>
3393       Applying a CC license to his work increases the chances it will be shared
3394 more widely around the Web. He avoids DRM—and openly opposes the
3395 practice—for similar reasons. DRM has the effect of tying a work to a
3396 particular platform. This digital lock, in turn, strips the authors of
3397 control over their own work and hands that control over to the platform. He
3398 calls it Cory’s First Law: <span class="quote">“<span class="quote">Anytime someone puts a lock on something
3399 that belongs to you and won’t give you the key, that lock isn’t there for
3400 your benefit.</span>”</span>
3401     </p><p>
3402       Cory operates under the premise that artists benefit when there are more,
3403 rather than fewer, places where people can access their work. The Internet
3404 has opened up those avenues, but DRM is designed to limit them. <span class="quote">“<span class="quote">On
3405 the one hand, we can credibly make our work available to a widely dispersed
3406 audience,</span>”</span> he said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we
3407 historically sold to are making it harder to go around them.</span>”</span> Cory
3408 continually looks for ways to reach his audience without relying upon major
3409 platforms that will try to take control over his work.
3410     </p><p>
3411       Cory says his e-book sales have been lower than those of his competitors,
3412 and he attributes some of that to the CC license making the work available
3413 for free. But he believes people are willing to pay for content they like,
3414 even when it is available for free, as long as it is easy to do. He was
3415 extremely successful using Humble Bundle, a platform that allows people to
3416 pay what they want for DRM-free versions of a bundle of a particular
3417 creator’s work. He is planning to try his own pay-what-you-want experiment
3418 soon.
3419     </p><p>
3420       Fans are particularly willing to pay when they feel personally connected to
3421 the artist. Cory works hard to create that personal connection. One way he
3422 does this is by personally answering every single email he gets. <span class="quote">“<span class="quote">If
3423 you look at the history of artists, most die in penury,</span>”</span> he
3424 said. <span class="quote">“<span class="quote">That reality means that for artists, we have to find ways to
3425 support ourselves when public tastes shift, when copyright stops producing.
3426 Future-proofing your artistic career in many ways means figuring out how to
3427 stay connected to those people who have been touched by your work.</span>”</span>
3428     </p><p>
3429       Cory’s realism about the difficulty of making a living in the arts does not
3430 reflect pessimism about the Internet age. Instead, he says the fact that it
3431 is hard to make a living as an artist is nothing new. What is new, he writes
3432 in his book, <span class="quote">“<span class="quote">is how many ways there are to make things, and to get
3433 them into other people’s hands and minds.</span>”</span>
3434     </p><p>
3435       It has never been easier to think like a dandelion.
3436     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Capítulo 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3437         Figshare is a for-profit company offering an online repository where
3438 researchers can preserve and share the output of their research, including
3439 figures, data sets, images, and videos.  Founded in 2011 in the UK.
3440       </p><p>
3441           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3442         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3443 services to creators
3444       </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
3445       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
3446       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3447     \textit{
3448         Profile written by Paul Stacey
3449       }
3450     \end{flushright}</td></tr></table></div><p>
3451       Figshare’s mission is to change the face of academic publishing through
3452 improved dissemination, discoverability, and reusability of scholarly
3453 research. Figshare is a repository where users can make all the output of
3454 their research available—from posters and presentations to data sets and
3455 code—in a way that’s easy to discover, cite, and share. Users can upload any
3456 file format, which can then be previewed in a Web browser. Research output
3457 is disseminated in a way that the current scholarly-publishing model does
3458 not allow.
3459     </p><p>
3460       Figshare founder Mark Hahnel often gets asked: How do you make money? How do
3461 we know you’ll be here in five years? Can you, as a for-profit venture, be
3462 trusted? Answers have evolved over time.
3463     </p><p>
3464       Mark traces the origins of Figshare back to when he was a graduate student
3465 getting his PhD in stem cell biology. His research involved working with
3466 videos of stem cells in motion. However, when he went to publish his
3467 research, there was no way for him to also publish the videos, figures,
3468 graphs, and data sets. This was frustrating. Mark believed publishing his
3469 complete research would lead to more citations and be better for his career.
3470     </p><p>
3471       Mark does not consider himself an advanced software programmer.
3472 Fortunately, things like cloud-based computing and wikis had become
3473 mainstream, and he believed it ought to be possible to put all his research
3474 online and share it with anyone. So he began working on a solution.
3475     </p><p>
3476       There were two key needs: licenses to make the data citable, and persistent
3477 identifiers— URL links that always point back to the original object
3478 ensuring the research is citable for the long term.
3479     </p><p>
3480       Mark chose Digital Object Identifiers (DOIs) to meet the need for a
3481 persistent identifier. In the DOI system, an object’s metadata is stored as
3482 a series of numbers in the DOI name. Referring to an object by its DOI is
3483 more stable than referring to it by its URL, because the location of an
3484 object (the web page or URL) can often change. Mark partnered with DataCite
3485 for the provision of DOIs for research data.
3486     </p><p>
3487       As for licenses, Mark chose Creative Commons. The open-access and
3488 open-science communities were already using and recommending Creative
3489 Commons. Based on what was happening in those communities and Mark’s
3490 dialogue with peers, he went with CC0 (in the public domain) for data sets
3491 and CC BY (Attribution) for figures, videos, and data sets.
3492     </p><p>
3493       So Mark began using DOIs and Creative Commons for his own research work. He
3494 had a science blog where he wrote about it and made all his data
3495 open. People started commenting on his blog that they wanted to do the
3496 same. So he opened it up for them to use, too.
3497     </p><p>
3498       People liked the interface and simple upload process. People started asking
3499 if they could also share theses, grant proposals, and code. Inclusion of
3500 code raised new licensing issues, as Creative Commons licenses are not used
3501 for software. To allow the sharing of software code, Mark chose the MIT
3502 license, but GNU and Apache licenses can also be used.
3503     </p><p>
3504       Mark sought investment to make this into a scalable product. After a few
3505 unsuccessful funding pitches, UK-based Digital Science expressed interest
3506 but insisted on a more viable business model.  They made an initial
3507 investment, and together they came up with a freemium-like business model.
3508     </p><p>
3509       Under the freemium model, academics upload their research to Figshare for
3510 storage and sharing for free. Each research object is licensed with Creative
3511 Commons and receives a DOI link. The premium option charges researchers a
3512 fee for gigabytes of private storage space, and for private online space
3513 designed for a set number of research collaborators, which is ideal for
3514 larger teams and geographically dispersed research groups. Figshare sums up
3515 its value proposition to researchers as <span class="quote">“<span class="quote">You retain ownership.  You
3516 license it. You get credit. We just make sure it persists.</span>”</span>
3517     </p><p>
3518       In January 2012, Figshare was launched. (The fig in Figshare stands for
3519 figures.) Using investment funds, Mark made significant improvements to
3520 Figshare. For example, researchers could quickly preview their research
3521 files within a browser without having to download them first or require
3522 third-party software. Journals who were still largely publishing articles as
3523 static noninteractive PDFs became interested in having Figshare provide that
3524 functionality for them.
3525     </p><p>
3526       Figshare diversified its business model to include services for
3527 journals. Figshare began hosting large amounts of data for the journals’
3528 online articles. This additional data improved the quality of the
3529 articles. Outsourcing this service to Figshare freed publishers from having
3530 to develop this functionality as part of their own
3531 infrastructure. Figshare-hosted data also provides a link back to the
3532 article, generating additional click-through and readership—a benefit to
3533 both journal publishers and researchers.  Figshare now provides
3534 research-data infrastructure for a wide variety of publishers including
3535 Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
3536 convinced them to use Creative Commons licenses for the data.
3537     </p><p>
3538       Governments allocate significant public funds to research. In parallel with
3539 the launch of Figshare, governments around the world began requesting the
3540 research they fund be open and accessible.  They mandated that researchers
3541 and academic institutions better manage and disseminate their research
3542 outputs. Institutions looking to comply with this new mandate became
3543 interested in Figshare. Figshare once again diversified its business model,
3544 adding services for institutions.
3545     </p><p>
3546       Figshare now offers a range of fee-based services to institutions, including
3547 their own minibranded Figshare space (called Figshare for Institutions) that
3548 securely hosts research data of institutions in the cloud. Services include
3549 not just hosting but data metrics, data dissemination, and user-group
3550 administration.  Figshare’s workflow, and the services they offer for
3551 institutions, take into account the needs of librarians and administrators,
3552 as well as of the researchers.
3553     </p><p>
3554       As with researchers and publishers, Fig-share encouraged institutions to
3555 share their research with CC BY (Attribution) and their data with CC0 (into
3556 the public domain). Funders who require researchers and institutions to use
3557 open licensing believe in the social responsibilities and benefits of making
3558 research accessible to all. Publishing research in this open way has come to
3559 be called open access. But not all funders specify CC BY; some institutions
3560 want to offer their researchers a choice, including less permissive licenses
3561 like CC BY-NC (Attribution-NonCommercial), CC BY-SA
3562 (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
3563     </p><p>
3564       For Mark this created a conflict. On the one hand, the principles and
3565 benefits of open science are at the heart of Figshare, and Mark believes CC
3566 BY is the best license for this. On the other hand, institutions were saying
3567 they wouldn’t use Figshare unless it offered a choice in licenses. He
3568 initially refused to offer anything beyond CC0 and CC BY, but after seeing
3569 an open-source CERN project offer all Creative Commons licenses without any
3570 negative repercussions, he decided to follow suit.
3571     </p><p>
3572       Mark is thinking of doing a Figshare study that tracks research
3573 dissemination according to Creative Commons license, and gathering metrics
3574 on views, citations, and downloads. You could see which license generates
3575 the biggest impact. If the data showed that CC BY is more impactful, Mark
3576 believes more and more researchers and institutions will make it their
3577 license of choice.
3578     </p><p>
3579       Figshare has an Application Programming Interface (API) that makes it
3580 possible for data to be pulled from Figshare and used in other
3581 applications. As an example, Mark shared a Figshare data set showing the
3582 journal subscriptions that higher-education institutions in the United
3583 Kingdom paid to ten major publishers.<a href="#ftn.idm1219" class="footnote" name="idm1219"><sup class="footnote">[115]</sup></a>
3584 Figshare’s API enables that data to be pulled into an app developed by a
3585 completely different researcher that converts the data into a visually
3586 interesting graph, which any viewer can alter by changing any of the
3587 variables.<a href="#ftn.idm1222" class="footnote" name="idm1222"><sup class="footnote">[116]</sup></a>
3588     </p><p>
3589       The free version of Figshare has built a community of academics, who through
3590 word of mouth and presentations have promoted and spread awareness of
3591 Figshare. To amplify and reward the community, Figshare established an
3592 Advisor program, providing those who promoted Figshare with hoodies and
3593 T-shirts, early access to new features, and travel expenses when they gave
3594 presentations outside of their area. These Advisors also helped Mark on what
3595 license to use for software code and whether to offer universities an option
3596 of using Creative Commons licenses.
3597     </p><p>
3598       Mark says his success is partly about being in the right place at the right
3599 time. He also believes that the diversification of Figshare’s model over
3600 time has been key to success. Figshare now offers a comprehensive set of
3601 services to researchers, publishers, and institutions.<a href="#ftn.idm1227" class="footnote" name="idm1227"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
3602 subscriptions, he believes Figshare would have struggled. In Figshare’s
3603 early days, their primary users were early-career and late-career
3604 academics. It has only been because funders mandated open licensing that
3605 Figshare is now being used by the mainstream.
3606     </p><p>
3607       Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
3608 800,000–plus user uploads, 2 million–plus articles, 500,000-plus
3609 collections, and 5,000–plus projects. Sixty percent of their traffic comes
3610 from Google. A sister company called Altmetric tracks the use of Figshare by
3611 others, including Wikipedia and news sources.
3612     </p><p>
3613       Figshare uses the revenue it generates from the premium subscribers, journal
3614 publishers, and institutions to fund and expand what it can offer to
3615 researchers for free. Figshare has publicly stuck to its principles—keeping
3616 the free service free and requiring the use of CC BY and CC0 from the
3617 start—and from Mark’s perspective, this is why people trust Figshare. Mark
3618 sees new competitors coming forward who are just in it for money. If
3619 Figshare was only in it for the money, they wouldn’t care about offering a
3620 free version. Figshare’s principles and advocacy for openness are a key
3621 differentiator. Going forward, Mark sees Figshare not only as supporting
3622 open access to research but also enabling people to collaborate and make new
3623 discoveries.
3624     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1219" class="footnote"><p><a href="#idm1219" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1222" class="footnote"><p><a href="#idm1222" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1227" class="footnote"><p><a href="#idm1227" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Capítulo 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3625         Figure.NZ is a nonprofit charity that makes an online data platform designed
3626 to make data reusable and easy to understand.  Founded in 2012 in New
3627 Zealand.
3628       </p><p>
3629           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
3630         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3631 services to creators, donations, sponsorships
3632       </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
3633       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
3634       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3635     \textit{
3636         Profile written by Paul Stacey
3637       }
3638     \end{flushright}</td></tr></table></div><p>
3639       In the paper Harnessing the Economic and Social Power of Data presented at
3640 the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1246" class="footnote" name="idm1246"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
3641 valuable and relevant data sets freely available to us right now, but most
3642 people don’t use them. She used to think this meant people didn’t care about
3643 being informed, but she’s come to see that she was wrong. Almost everyone
3644 wants to be informed about issues that matter—not only to them, but also to
3645 their families, their communities, their businesses, and their country.  But
3646 there’s a big difference between availability and accessibility of
3647 information. Data is spread across thousands of sites and is held within
3648 databases and spreadsheets that require both time and skill to engage
3649 with. To use data when making a decision, you have to know what specific
3650 question to ask, identify a source that has collected the data, and
3651 manipulate complex tools to extract and visualize the information within the
3652 data set.  Lillian established Figure.NZ to make data truly accessible to
3653 all, with a specific focus on New Zealand.
3654     </p><p>
3655       Lillian had the idea for Figure.NZ in February 2012 while working for the
3656 New Zealand Institute, a think tank concerned with improving economic
3657 prosperity, social well-being, environmental quality, and environmental
3658 productivity for New Zealand and New Zealanders. While giving talks to
3659 community and business groups, Lillian realized <span class="quote">“<span class="quote">every single issue we
3660 addressed would have been easier to deal with if more people understood the
3661 basic facts.</span>”</span> But understanding the basic facts sometimes requires
3662 data and research that you often have to pay for.
3663     </p><p>
3664       Lillian began to imagine a website that lifted data up to a visual form that
3665 could be easily understood and freely accessed.  Initially launched as Wiki
3666 New Zealand, the original idea was that people could contribute their data
3667 and visuals via a wiki.  However, few people had graphs that could be used
3668 and shared, and there were no standards or consistency around the data and
3669 the visuals. Realizing the wiki model wasn’t working, Lillian brought the
3670 process of data aggregation, curation, and visual presentation in-house, and
3671 invested in the technology to help automate some of it. Wiki New Zealand
3672 became Figure.NZ, and efforts were reoriented toward providing services to
3673 those wanting to open their data and present it visually.
3674     </p><p>
3675       Here’s how it works. Figure.NZ sources data from other organizations,
3676 including corporations, public repositories, government departments, and
3677 academics. Figure.NZ imports and extracts that data, and then validates and
3678 standardizes it—all with a strong eye on what will be best for users. They
3679 then make the data available in a series of standardized forms, both human-
3680 and machine-readable, with rich metadata about the sources, the licenses,
3681 and data types. Figure.NZ has a chart-designing tool that makes simple bar,
3682 line, and area graphs from any data source.  The graphs are posted to the
3683 Figure.NZ website, and they can also be exported in a variety of formats for
3684 print or online use.  Figure.NZ makes its data and graphs available using
3685 the Attribution (CC BY) license. This allows others to reuse, revise, remix,
3686 and redistribute Figure.NZ data and graphs as long as they give attribution
3687 to the original source and to Figure.NZ.
3688     </p><p>
3689       Lillian characterizes the initial decision to use Creative Commons as
3690 naively fortunate. It was first recommended to her by a colleague. Lillian
3691 spent time looking at what Creative Commons offered and thought it looked
3692 good, was clear, and made common sense. It was easy to use and easy for
3693 others to understand. Over time, she’s come to realize just how fortunate
3694 and important that decision turned out to be. New Zealand’s government has
3695 an open-access and licensing framework called NZGOAL, which provides
3696 guidance for agencies when they release copyrighted and noncopyrighted work
3697 and material.<a href="#ftn.idm1254" class="footnote" name="idm1254"><sup class="footnote">[119]</sup></a> It aims to standardize
3698 the licensing of works with government copyright and how they can be reused,
3699 and it does this with Creative Commons licenses. As a result, 98 percent of
3700 all government-agency data is Creative Commons licensed, fitting in nicely
3701 with Figure.NZ’s decision.
3702     </p><p>
3703       Lillian thinks current ideas of what a business is are relatively new, only
3704 a hundred years old or so. She’s convinced that twenty years from now, we
3705 will see new and different models for business.  Figure.NZ is set up as a
3706 nonprofit charity. It is purpose-driven but also strives to pay people well
3707 and thinks like a business.  Lillian sees the charity-nonprofit status as an
3708 essential element for the mission and purpose of Figure.NZ. She believes
3709 Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
3710 nonprofit status assures people who have data and people who want to use it
3711 that they can rely on Figure.NZ’s motives. People see them as a trusted
3712 wrangler and source.
3713     </p><p>
3714       Although Figure.NZ is a social enterprise that openly licenses their data
3715 and graphs for everyone to use for free, they have taken care not to be
3716 perceived as a free service all around the table. Lillian believes hundreds
3717 of millions of dollars are spent by the government and organizations to
3718 collect data. However, very little money is spent on taking that data and
3719 making it accessible, understandable, and useful for decision making.
3720 Government uses some of the data for policy, but Lillian believes that it is
3721 underutilized and the potential value is much larger.  Figure.NZ is focused
3722 on solving that problem. They believe a portion of money allocated to
3723 collecting data should go into making sure that data is useful and generates
3724 value. If the government wants citizens to understand why certain decisions
3725 are being made and to be more aware about what the government is doing, why
3726 not transform the data it collects into easily understood visuals? It could
3727 even become a way for a government or any organization to differentiate,
3728 market, and brand itself.
3729     </p><p>
3730       Figure.NZ spends a lot of time seeking to understand the motivations of data
3731 collectors and to identify the channels where it can provide value. Every
3732 part of their business model has been focused on who is going to get value
3733 from the data and visuals.
3734     </p><p>
3735       Figure.NZ has multiple lines of business. They provide commercial services
3736 to organizations that want their data publicly available and want to use
3737 Figure.NZ as their publishing platform. People who want to publish open data
3738 appreciate Figure.NZ’s ability to do it faster, more easily, and better than
3739 they can. Customers are encouraged to help their users find, use, and make
3740 things from the data they make available on Figure.NZ’s website. Customers
3741 control what is released and the license terms (although Figure.NZ
3742 encourages Creative Commons licensing). Figure.NZ also serves customers who
3743 want a specific collection of charts created—for example, for their website
3744 or annual report. Charging the organizations that want to make their data
3745 available enables Figure.NZ to provide their site free to all users, to
3746 truly democratize data.
3747     </p><p>
3748       Lillian notes that the current state of most data is terrible and often not
3749 well understood by the people who have it. This sometimes makes it difficult
3750 for customers and Figure.NZ to figure out what it would cost to import,
3751 standardize, and display that data in a useful way. To deal with this,
3752 Figure.NZ uses <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate
3753 a certain budget to the task that Figure.NZ is then free to draw from, as
3754 long as Figure.NZ frequently reports on what they’ve produced so the
3755 customer can determine the value for money. This strategy has helped build
3756 trust and transparency about the level of effort associated with doing work
3757 that has never been done before.
3758     </p><p>
3759       A second line of business is what Figure.NZ calls partners. ASB Bank and
3760 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
3761 example, with their support Figure.NZ has been able to create Business
3762 Figures, a special way for businesses to find useful data without having to
3763 know what questions to ask.<a href="#ftn.idm1264" class="footnote" name="idm1264"><sup class="footnote">[120]</sup></a>
3764     </p><p>
3765       Figure.NZ also has patrons.<a href="#ftn.idm1268" class="footnote" name="idm1268"><sup class="footnote">[121]</sup></a> Patrons
3766 donate to topic areas they care about, directly enabling Figure.NZ to get
3767 data together to flesh out those areas. Patrons do not direct what data is
3768 included or excluded.
3769     </p><p>
3770       Figure.NZ also accepts philanthropic donations, which are used to provide
3771 more content, extend technology, and improve services, or are targeted to
3772 fund a specific effort or provide in-kind support.  As a charity, donations
3773 are tax deductible.
3774     </p><p>
3775       Figure.NZ has morphed and grown over time. With data aggregation, curation,
3776 and visualizing services all in-house, Figure.NZ has developed a deep
3777 expertise in taking random styles of data, standardizing it, and making it
3778 useful. Lillian realized that Figure.NZ could easily become a warehouse of
3779 seventy people doing data. But for Lillian, growth isn’t always good. In her
3780 view, bigger often means less effective. Lillian set artificial constraints
3781 on growth, forcing the organization to think differently and be more
3782 efficient. Rather than in-house growth, they are growing and building
3783 external relationships.
3784     </p><p>
3785       Figure.NZ’s website displays visuals and data associated with a wide range
3786 of categories including crime, economy, education, employment, energy,
3787 environment, health, information and communications technology, industry,
3788 tourism, and many others. A search function helps users find tables and
3789 graphs. Figure.NZ does not provide analysis or interpretation of the data or
3790 visuals.  Their goal is to teach people how to think, not think for them.
3791 Figure.NZ wants to create intuitive experiences, not user manuals.
3792     </p><p>
3793       Figure.NZ believes data and visuals should be useful. They provide their
3794 customers with a data collection template and teach them why it’s important
3795 and how to use it. They’ve begun putting more emphasis on tracking what
3796 users of their website want. They also get requests from social media and
3797 through email for them to share data for a specific topic—for example, can
3798 you share data for water quality? If they have the data, they respond
3799 quickly; if they don’t, they try and identify the organizations that would
3800 have that data and forge a relationship so they can be included on
3801 Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
3802 people to be curious about, access, and interpret data on topics they are
3803 interested in.
3804     </p><p>
3805       Lillian has a deep and profound vision for Figure.NZ that goes well beyond
3806 simply providing open-data services. She says things are different now. "We
3807 used to live in a world where it was really hard to share information
3808 widely. And in that world, the best future was created by having a few great
3809 leaders who essentially had access to the information and made decisions on
3810 behalf of others, whether it was on behalf of a country or companies.
3811     </p><p>
3812       "But now we live in a world where it’s really easy to share information
3813 widely and also to communicate widely. In the world we live in now, the best
3814 future is the one where everyone can make well-informed decisions.
3815     </p><p>
3816       "The use of numbers and data as a way of making well-informed decisions is
3817 one of the areas where there is the biggest gaps. We don’t really use
3818 numbers as a part of our thinking and part of our understanding yet.
3819     </p><p>
3820       "Part of the reason is the way data is spread across hundreds of sites. In
3821 addition, for the most part, deep thinking based on data is constrained to
3822 experts because most people don’t have data literacy. There once was a time
3823 when many citizens in society couldn’t read or write. However, as a society,
3824 we’ve now come to believe that reading and writing skills should be
3825 something all citizens have. We haven’t yet adopted a similar belief around
3826 numbers and data literacy. We largely still believe that only a few
3827 specially trained people can analyze and think with numbers.
3828     </p><p>
3829       "Figure.NZ may be the first organization to assert that everyone can use
3830 numbers in their thinking, and it’s built a technological platform along
3831 with trust and a network of relationships to make that possible. What you
3832 can see on Figure.NZ are tens of thousands of graphs, maps, and data.
3833     </p><p>
3834         <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
3835 analyze what they see around them. A way to be thoughtful and informed about
3836 society. A means of engaging in conversation and shaping decision making
3837 that transcends personal experience.  The long-term value and impact is
3838 almost impossible to measure, but the goal is to help citizens gain
3839 understanding and work together in more informed ways to shape the
3840 future.</span>”</span>
3841       </p><p>
3842       Lillian sees Figure.NZ’s model as having global potential. But for now,
3843 their focus is completely on making Figure.NZ work in New Zealand and to get
3844 the <span class="quote">“<span class="quote">network effect</span>”</span>— users dramatically increasing value for
3845 themselves and for others through use of their service. Creative Commons is
3846 core to making the network effect possible.
3847     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1246" class="footnote"><p><a href="#idm1246" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1254" class="footnote"><p><a href="#idm1254" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1264" class="footnote"><p><a href="#idm1264" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1268" class="footnote"><p><a href="#idm1268" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Capítulo 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3848         Knowledge Unlatched is a not-for-profit community interest company that
3849 brings libraries together to pool funds to publish open-access
3850 books. Founded in 2012 in the UK.
3851       </p><p>
3852           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
3853         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
3854       </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
3855       </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
3856       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3857     \textit{
3858         Profile written by Paul Stacey
3859       }
3860     \end{flushright}</td></tr></table></div><p>
3861       The serial entrepreneur Dr. Frances Pinter has been at the forefront of
3862 innovation in the publishing industry for nearly forty years. She founded
3863 the UK-based Knowledge Unlatched with a mission to enable open access to
3864 scholarly books. For Frances, the current scholarly- book-publishing system
3865 is not working for anyone, and especially not for monographs in the
3866 humanities and social sciences. Knowledge Unlatched is committed to changing
3867 this and has been working with libraries to create a sustainable alternative
3868 model for publishing scholarly books, sharing the cost of making monographs
3869 (released under a Creative Commons license)  and savings costs over the long
3870 term. Since its launch, Knowledge Unlatched has received several awards,
3871 including the IFLA/Brill Open Access award in 2014 and a Curtin University
3872 Commercial Innovation Award for Innovation in Education in 2015.
3873     </p><p>
3874       Dr. Pinter has been in academic publishing most of her career.  About ten
3875 years ago, she became acquainted with the Creative Commons founder Lawrence
3876 Lessig and got interested in Creative Commons as a tool for both protecting
3877 content online and distributing it free to users.
3878     </p><p>
3879       Not long after, she ran a project in Africa convincing publishers in Uganda
3880 and South Africa to put some of their content online for free using a
3881 Creative Commons license and to see what happened to print sales. Sales went
3882 up, not down.
3883     </p><p>
3884       In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
3885 United Kingdom, appointed her its founding publisher in London. As part of
3886 the launch, Frances convinced Bloomsbury to differentiate themselves by
3887 putting out monographs for free online under a Creative Commons license
3888 (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
3889 Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
3890 cost for publishers is getting a book to the stage where it can be
3891 printed. If everyone read the online book for free, there would be no
3892 print-book sales at all, and the costs associated with getting the book to
3893 print would be lost.  Surprisingly, Bloomsbury found that sales of the print
3894 versions of these books were 10 to 20 percent higher than normal. Frances
3895 found it intriguing that the Creative Commons–licensed free online book acts
3896 as a marketing vehicle for the print format.
3897     </p><p>
3898       Frances began to look at customer interest in the three forms of the book:
3899 1) the Creative Commons–licensed free online book in PDF form, 2) the
3900 printed book, and 3) a digital version of the book on an aggregator platform
3901 with enhanced features. She thought of this as the <span class="quote">“<span class="quote">ice cream
3902 model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
3903 ice cream cone, and the enhanced e-book was an ice cream sundae.
3904     </p><p>
3905       After a while, Frances had an epiphany—what if there was a way to get
3906 libraries to underwrite the costs of making these books up until they’re
3907 ready be printed, in other words, cover the fixed costs of getting to the
3908 first digital copy? Then you could either bring down the cost of the printed
3909 book, or do a whole bunch of interesting things with the printed book and
3910 e-book—the ice cream cone or sundae part of the model.
3911     </p><p>
3912       This idea is similar to the article-processing charge some open-access
3913 journals charge researchers to cover publishing costs.  Frances began to
3914 imagine a coalition of libraries paying for the prepress costs—a
3915 <span class="quote">“<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
3916 with an open-access version of the books released under a Creative Commons
3917 license.
3918     </p><p>
3919       This idea really took hold in her mind. She didn’t really have a name for it
3920 but began talking about it and making presentations to see if there was
3921 interest. The more she talked about it, the more people agreed it had
3922 appeal. She offered a bottle of champagne to anyone who could come up with a
3923 good name for the idea. Her husband came up with Knowledge Unlatched, and
3924 after two years of generating interest, she decided to move forward and
3925 launch a community interest company (a UK term for not-for-profit social
3926 enterprises) in 2012.
3927     </p><p>
3928       She describes the business model in a paper called Knowledge Unlatched:
3929 Toward an Open and Networked Future for Academic Publishing:
3930     </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
3931           Publishers offer titles for sale reflecting origination costs only via
3932 Knowledge Unlatched.
3933         </p></li><li class="listitem"><p>
3934           Individual libraries select titles either as individual titles or as
3935 collections (as they do from library suppliers now).
3936         </p></li><li class="listitem"><p>
3937           Their selections are sent to Knowledge Unlatched specifying the titles to be
3938 purchased at the stated price(s).
3939         </p></li><li class="listitem"><p>
3940           The price, called a Title Fee (set by publishers and negotiated by Knowledge
3941 Unlatched), is paid to publishers to cover the fixed costs of publishing
3942 each of the titles that were selected by a minimum number of libraries to
3943 cover the Title Fee.
3944         </p></li><li class="listitem"><p>
3945           Publishers make the selected titles available Open Access (on a Creative
3946 Commons or similar open license) and are then paid the Title Fee which is
3947 the total collected from the libraries.
3948         </p></li><li class="listitem"><p>
3949           Publishers make print copies, e-Pub, and other digital versions of selected
3950 titles available to member libraries at a discount that reflects their
3951 contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1321" class="footnote" name="idm1321"><sup class="footnote">[122]</sup></a>
3952         </p></li></ol></div><p>
3953       The first round of this model resulted in a collection of twenty-eight
3954 current titles from thirteen recognized scholarly publishers being
3955 unlatched. The target was to have two hundred libraries participate. The
3956 cost of the package per library was capped at $1,680, which was an average
3957 price of sixty dollars per book, but in the end they had nearly three
3958 hundred libraries sharing the costs, and the price per book came in at just
3959 under forty-three dollars.
3960     </p><p>
3961       The open-access, Creative Commons versions of these twenty-eight books are
3962 still available online.<a href="#ftn.idm1326" class="footnote" name="idm1326"><sup class="footnote">[123]</sup></a> Most books have
3963 been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
3964 holder, not the publisher, and negotiate choice of license as part of the
3965 publishing agreement.  Frances has found that most authors want to retain
3966 control over the commercial and remix use of their work. Publishers list the
3967 book in their catalogs, and the noncommercial restriction in the Creative
3968 Commons license ensures authors continue to get royalties on sales of
3969 physical copies.
3970     </p><p>
3971       There are three cost variables to consider for each round: the overall cost
3972 incurred by the publishers, total cost for each library to acquire all the
3973 books, and the individual price per book. The fee publishers charge for each
3974 title is a fixed charge, and Knowledge Unlatched calculates the total amount
3975 for all the books being unlatched at a time. The cost of an order for each
3976 library is capped at a maximum based on a minimum number of libraries
3977 participating. If the number of participating libraries exceeds the minimum,
3978 then the cost of the order and the price per book go down for each library.
3979     </p><p>
3980       The second round, recently completed, unlatched seventy-eight books from
3981 twenty-six publishers. For this round, Frances was experimenting with the
3982 size and shape of the offerings. Books were being bundled into eight small
3983 packages separated by subject (including Anthropology, History, Literature,
3984 Media and Communications, and Politics), of around ten books per package.
3985 Three hundred libraries around the world have to commit to at least six of
3986 the eight packages to enable unlatching. The average cost per book was just
3987 under fifty dollars. The unlatching process took roughly ten months. It
3988 started with a call to publishers for titles, followed by having a library
3989 task force select the titles, getting authors’ permissions, getting the
3990 libraries to pledge, billing the libraries, and finally, unlatching.
3991     </p><p>
3992       The longest part of the whole process is getting libraries to pledge and
3993 commit funds. It takes about five months, as library buy-in has to fit
3994 within acquisition cycles, budget cycles, and library-committee meetings.
3995     </p><p>
3996       Knowledge Unlatched informs and recruits libraries through social media,
3997 mailing lists, listservs, and library associations. Of the three hundred
3998 libraries that participated in the first round, 80 percent are also
3999 participating in the second round, and there are an additional eighty new
4000 libraries taking part. Knowledge Unlatched is also working not just with
4001 individual libraries but also library consortia, which has been getting even
4002 more libraries involved.
4003     </p><p>
4004       Knowledge Unlatched is scaling up, offering 150 new titles in the second
4005 half of 2016. It will also offer backlist titles, and in 2017 will start to
4006 make journals open access too.
4007     </p><p>
4008       Knowledge Unlatched deliberately chose monographs as the initial type of
4009 book to unlatch. Monographs are foundational and important, but also
4010 problematic to keep going in the standard closed publishing model.
4011     </p><p>
4012       The cost for the publisher to get to a first digital copy of a monograph is
4013 $5,000 to $50,000. A good one costs in the $10,000 to $15,000
4014 range. Monographs typically don’t sell a lot of copies. A publisher who in
4015 the past sold three thousand copies now typically sells only three
4016 hundred. That makes unlatching monographs a low risk for publishers. For the
4017 first round, it took five months to get thirteen publishers. For the second
4018 round, it took one month to get twenty-six.
4019     </p><p>
4020       Authors don’t generally make a lot of royalties from monographs.  Royalties
4021 range from zero dollars to 5 to 10 percent of receipts.  The value to the
4022 author is the awareness it brings to them; when their book is being read, it
4023 increases their reputation. Open access through unlatching generates many
4024 more downloads and therefore awareness. (On the Knowledge Unlatched website,
4025 you can find interviews with the twenty-eight round-one authors describing
4026 their experience and the benefits of taking part.)<a href="#ftn.idm1337" class="footnote" name="idm1337"><sup class="footnote">[124]</sup></a>
4027     </p><p>
4028       Library budgets are constantly being squeezed, partly due to the inflation
4029 of journal subscriptions. But even without budget constraints, academic
4030 libraries are moving away from buying physical copies. An academic library
4031 catalog entry is typically a URL to wherever the book is hosted. Or if they
4032 have enough electronic storage space, they may download the digital file
4033 into their digital repository. Only secondarily do they consider getting a
4034 print book, and if they do, they buy it separately from the digital version.
4035     </p><p>
4036       Knowledge Unlatched offers libraries a compelling economic argument. Many of
4037 the participating libraries would have bought a copy of the monograph
4038 anyway, but instead of paying $95 for a print copy or $150 for a digital
4039 multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
4040 the book to not just the participating libraries, but to the world.
4041     </p><p>
4042       Not only do the economics make sense, but there is very strong alignment
4043 with library mandates. The participating libraries pay less than they would
4044 have in the closed model, and the open-access book is available to all
4045 libraries. While this means nonparticipating libraries could be seen as free
4046 riders, in the library world, wealthy libraries are used to paying more than
4047 poor libraries and accept that part of their money should be spent to
4048 support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> is more like community
4049 responsibility. By the end of March 2016, the round-one books had been
4050 downloaded nearly eighty thousand times in 175 countries.
4051     </p><p>
4052       For publishers, authors, and librarians, the Knowledge Unlatched model for
4053 monographs is a win-win-win.
4054     </p><p>
4055       In the first round, Knowledge Unlatched’s overheads were covered by
4056 grants. In the second round, they aim to demonstrate the model is
4057 sustainable. Libraries and publishers will each pay a 7.5 percent service
4058 charge that will go toward Knowledge Unlatched’s running costs. With plans
4059 to scale up in future rounds, Frances figures they can fully recover costs
4060 when they are unlatching two hundred books at a time. Moving forward,
4061 Knowledge Unlatched is making investments in technology and
4062 processes. Future plans include unlatching journals and older books.
4063     </p><p>
4064       Frances believes that Knowledge Unlatched is tapping into new ways of
4065 valuing academic content. It’s about considering how many people can find,
4066 access, and use your content without pay barriers. Knowledge Unlatched taps
4067 into the new possibilities and behaviors of the digital world. In the
4068 Knowledge Unlatched model, the content-creation process is exactly the same
4069 as it always has been, but the economics are different. For Frances,
4070 Knowledge Unlatched is connected to the past but moving into the future, an
4071 evolution rather than a revolution.
4072     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1321" class="footnote"><p><a href="#idm1321" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1326" class="footnote"><p><a href="#idm1326" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1337" class="footnote"><p><a href="#idm1337" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Capítulo 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4073         Lumen Learning is a for-profit company helping educational institutions use
4074 open educational resources (OER). Founded in 2013 in the U.S.
4075       </p><p>
4076           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4077         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4078 services, grant funding
4079       </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
4080       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
4081 cofounders
4082       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4083     \textit{
4084         Profile written by Paul Stacey
4085       }
4086     \end{flushright}</td></tr></table></div><p>
4087       Cofounded by open education visionary Dr. David Wiley and
4088 education-technology strategist Kim Thanos, Lumen Learning is dedicated to
4089 improving student success, bringing new ideas to pedagogy, and making
4090 education more affordable by facilitating adoption of open educational
4091 resources. In 2012, David and Kim partnered on a grant-funded project called
4092 the Kaleidoscope Open Course Initiative.<a href="#ftn.idm1361" class="footnote" name="idm1361"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
4093 eight colleges predominantly serving at-risk students, with goals to
4094 dramatically reduce textbook costs and collaborate to improve the courses to
4095 help students succeed. David and Kim exceeded those goals: the cost of the
4096 required textbooks, replaced with OER, decreased to zero dollars, and
4097 average student-success rates improved by 5 to 10 percent when compared with
4098 previous years. After a second round of funding, a total of more than
4099 twenty-five institutions participated in and benefited from this project. It
4100 was career changing for David and Kim to see the impact this initiative had
4101 on low-income students. David and Kim sought further funding from the Bill
4102 and Melinda Gates Foundation, who asked them to define a plan to scale their
4103 work in a financially sustainable way. That is when they decided to create
4104 Lumen Learning.
4105     </p><p>
4106       David and Kim went back and forth on whether it should be a nonprofit or
4107 for- profit. A nonprofit would make it a more comfortable fit with the
4108 education sector but meant they’d be constantly fund-raising and seeking
4109 grants from philanthropies.  Also, grants usually require money to be used
4110 in certain ways for specific deliverables. If you learn things along the way
4111 that change how you think the grant money should be used, there often isn’t
4112 a lot of flexibility to do so.
4113     </p><p>
4114       But as a for-profit, they’d have to convince educational institutions to pay
4115 for what Lumen had to offer. On the positive side, they’d have more control
4116 over what to do with the revenue and investment money; they could make
4117 decisions to invest the funds or use them differently based on the situation
4118 and shifting opportunities. In the end, they chose the for-profit status,
4119 with its different model for and approach to sustainability.
4120     </p><p>
4121       Right from the start, David and Kim positioned Lumen Learning as a way to
4122 help institutions engage in open educational resources, or OER. OER are
4123 teaching, learning, and research materials, in all different media, that
4124 reside in the public domain or are released under an open license that
4125 permits free use and repurposing by others.
4126     </p><p>
4127       Originally, Lumen did custom contracts for each institution. This was
4128 complicated and challenging to manage. However, through that process
4129 patterns emerged which allowed them to generalize a set of approaches and
4130 offerings. Today they don’t customize as much as they used to, and instead
4131 they tend to work with customers who can use their off-the-shelf
4132 options. Lumen finds that institutions and faculty are generally very good
4133 at seeing the value Lumen brings and are willing to pay for it. Serving
4134 disadvantaged learner populations has led Lumen to be very pragmatic; they
4135 describe what they offer in quantitative terms—with facts and figures—and in
4136 a way that is very student-focused. Lumen Learning helps colleges and
4137 universities—
4138     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4139           replace expensive textbooks in high-enrollment courses with OER;
4140         </p></li><li class="listitem"><p>
4141           provide enrolled students day one access to Lumen’s fully customizable OER
4142 course materials through the institution’s learning-management system;
4143         </p></li><li class="listitem"><p>
4144           measure improvements in student success with metrics like passing rates,
4145 persistence, and course completion; and
4146         </p></li><li class="listitem"><p>
4147           collaborate with faculty to make ongoing improvements to OER based on
4148 student success research.
4149         </p></li></ul></div><p>
4150       Lumen has developed a suite of open, Creative Commons–licensed courseware in
4151 more than sixty-five subjects. All courses are freely and publicly available
4152 right off their website. They can be copied and used by others as long as
4153 they provide attribution to Lumen Learning following the terms of the
4154 Creative Commons license.
4155     </p><p>
4156       Then there are three types of bundled services that cost money.  One option,
4157 which Lumen calls Candela courseware, offers integration with the
4158 institution’s learning-management system, technical and pedagogical support,
4159 and tracking of effectiveness.  Candela courseware costs institutions ten
4160 dollars per enrolled student.
4161     </p><p>
4162       A second option is Waymaker, which offers the services of Candela but adds
4163 personalized learning technologies, such as study plans, automated messages,
4164 and assessments, and helps instructors find and support the students who
4165 need it most. Waymaker courses cost twenty-five dollars per enrolled
4166 student.
4167     </p><p>
4168       The third and emerging line of business for Lumen is providing guidance and
4169 support for institutions and state systems that are pursuing the development
4170 of complete OER degrees. Often called Z-Degrees, these programs eliminate
4171 textbook costs for students in all courses that make up the degree (both
4172 required and elective)  by replacing commercial textbooks and other
4173 expensive resources with OER.
4174     </p><p>
4175       Lumen generates revenue by charging for their value-added tools and services
4176 on top of their free courses, just as solar-power companies provide the
4177 tools and services that help people use a free resource—sunlight. And
4178 Lumen’s business model focuses on getting the institutions to pay, not the
4179 students. With projects they did prior to Lumen, David and Kim learned that
4180 students who have access to all course materials from day one have greater
4181 success. If students had to pay, Lumen would have to restrict access to
4182 those who paid. Right from the start, their stance was that they would not
4183 put their content behind a paywall. Lumen invests zero dollars in
4184 technologies and processes for restricting access—no digital rights
4185 management, no time bombs. While this has been a challenge from a
4186 business-model perspective, from an open-access perspective, it has
4187 generated immense goodwill in the community.
4188     </p><p>
4189       In most cases, development of their courses is funded by the institution
4190 Lumen has a contract with. When creating new courses, Lumen typically works
4191 with the faculty who are teaching the new course. They’re often part of the
4192 institution paying Lumen, but sometimes Lumen has to expand the team and
4193 contract faculty from other institutions. First, the faculty identifies all
4194 of the course’s learning outcomes. Lumen then searches for, aggregates, and
4195 curates the best OER they can find that addresses those learning needs,
4196 which the faculty reviews.
4197     </p><p>
4198       Sometimes faculty like the existing OER but not the way it is presented. The
4199 open licensing of existing OER allows Lumen to pick and choose from images,
4200 videos, and other media to adapt and customize the course. Lumen creates new
4201 content as they discover gaps in existing OER. Test-bank items and feedback
4202 for students on their progress are areas where new content is frequently
4203 needed.  Once a course is created, Lumen puts it on their platform with all
4204 the attributions and links to the original sources intact, and any of
4205 Lumen’s new content is given an Attribution (CC BY) license.
4206     </p><p>
4207       Using only OER made them experience firsthand how complex it could be to mix
4208 differently licensed work together. A common strategy with OER is to place
4209 the Creative Commons license and attribution information in the website’s
4210 footer, which stays the same for all pages. This doesn’t quite work,
4211 however, when mixing different OER together.
4212     </p><p>
4213       Remixing OER often results in multiple attributions on every page of every
4214 course—text from one place, images from another, and videos from yet
4215 another. Some are licensed as Attribution (CC BY), others as
4216 Attribution-ShareAlike (CC BY-SA). If this information is put within the
4217 text of the course, faculty members sometimes try to edit it and students
4218 find it a distraction. Lumen dealt with this challenge by capturing the
4219 license and attribution information as metadata, and getting it to show up
4220 at the end of each page.
4221     </p><p>
4222       Lumen’s commitment to open licensing and helping low-income students has led
4223 to strong relationships with institutions, open-education enthusiasts, and
4224 grant funders. People in their network generously increase the visibility of
4225 Lumen through presentations, word of mouth, and referrals. Sometimes the
4226 number of general inquiries exceed Lumen’s sales capacity.
4227     </p><p>
4228       To manage demand and ensure the success of projects, their strategy is to be
4229 proactive and focus on what’s going on in higher education in different
4230 regions of the United States, watching out for things happening at the
4231 system level in a way that fits with what Lumen offers. A great example is
4232 the Virginia community college system, which is building out
4233 Z-Degrees. David and Kim say there are nine other U.S. states with similar
4234 system-level activity where Lumen is strategically focusing its
4235 efforts. Where there are projects that would require a lot of resources on
4236 Lumen’s part, they prioritize the ones that would impact the largest number
4237 of students.
4238     </p><p>
4239       As a business, Lumen is committed to openness. There are two core
4240 nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
4241 Commons licenses, for all the materials it creates; and day-one access for
4242 students. Having clear nonnegotiables allows them to then engage with the
4243 education community to solve for other challenges and work with institutions
4244 to identify new business models that achieve institution goals, while
4245 keeping Lumen healthy.
4246     </p><p>
4247       Openness also means that Lumen’s OER must necessarily be nonexclusive and
4248 nonrivalrous. This represents several big challenges for the business model:
4249 Why should you invest in creating something that people will be reluctant to
4250 pay for? How do you ensure that the investment the diverse education
4251 community makes in OER is not exploited? Lumen thinks we all need to be
4252 clear about how we are benefiting from and contributing to the open
4253 community.
4254     </p><p>
4255       In the OER sector, there are examples of corporations, and even
4256 institutions, acting as free riders. Some simply take and use open resources
4257 without paying anything or contributing anything back.  Others give back the
4258 minimum amount so they can save face.  Sustainability will require those
4259 using open resources to give back an amount that seems fair or even give
4260 back something that is generous.
4261     </p><p>
4262       Lumen does track institutions accessing and using their free content. They
4263 proactively contact those institutions, with an estimate of how much their
4264 students are saving and encouraging them to switch to a paid model. Lumen
4265 explains the advantages of the paid model: a more interactive relationship
4266 with Lumen; integration with the institution’s learning-management system; a
4267 guarantee of support for faculty and students; and future sustainability
4268 with funding supporting the evolution and improvement of the OER they are
4269 using.
4270     </p><p>
4271       Lumen works hard to be a good corporate citizen in the OER community. For
4272 David and Kim, a good corporate citizen gives more than they take, adds
4273 unique value, and is very transparent about what they are taking from
4274 community, what they are giving back, and what they are monetizing. Lumen
4275 believes these are the building blocks of a sustainable model and strives
4276 for a correct balance of all these factors.
4277     </p><p>
4278       Licensing all the content they produce with CC BY is a key part of giving
4279 more value than they take. They’ve also worked hard at finding the right
4280 structure for their value-add and how to package it in a way that is
4281 understandable and repeatable.
4282     </p><p>
4283       As of the fall 2016 term, Lumen had eighty-six different open courses,
4284 working relationships with ninety-two institutions, and more than
4285 seventy-five thousand student enrollments. Lumen received early start-up
4286 funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
4287 and the Shuttleworth Foundation. Since then, Lumen has also attracted
4288 investment funding. Over the last three years, Lumen has been roughly 60
4289 percent grant funded, 20 percent revenue earned, and 20 percent funded with
4290 angel capital. Going forward, their strategy is to replace grant funding
4291 with revenue.
4292     </p><p>
4293       In creating Lumen Learning, David and Kim say they’ve landed on solutions
4294 they never imagined, and there is still a lot of learning taking place. For
4295 them, open business models are an emerging field where we are all learning
4296 through sharing. Their biggest recommendations for others wanting to pursue
4297 the open model are to make your commitment to open resources public, let
4298 people know where you stand, and don’t back away from it. It really is about
4299 trust.
4300     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1361" class="footnote"><p><a href="#idm1361" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Capítulo 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4301         Jonathan Mann is a singer and songwriter who is most well known as the
4302 <span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
4303       </p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
4304       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4305 services, pay-what-you-want, crowdfunding (subscription-based), charging for
4306 in-person version (speaking engagements and musical performances)
4307       </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
4308       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4309     \textit{
4310         Profile written by Sarah Hinchliff Pearson
4311       }
4312     \end{flushright}</td></tr></table></div><p>
4313       Jonathan Mann thinks of his business model as
4314 <span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
4315 money. The bulk of his income comes from writing songs under commission for
4316 people and companies, but he has a wide variety of income sources. He has
4317 supporters on the crowdfunding site Patreon. He gets advertising revenue
4318 from YouTube and Bandcamp, where he posts all of his music. He gives paid
4319 speaking engagements about creativity and motivation. He has been hired by
4320 major conferences to write songs summarizing what speakers have said in the
4321 conference sessions.
4322     </p><p>
4323       His entrepreneurial spirit is coupled with a willingness to take action
4324 quickly. A perfect illustration of his ability to act fast happened in 2010,
4325 when he read that Apple was having a conference the following day to address
4326 a snafu related to the iPhone 4. He decided to write and post a song about
4327 the iPhone 4 that day, and the next day he got a call from the public
4328 relations people at Apple wanting to use and promote his video at the Apple
4329 conference. The song then went viral, and the experience landed him in Time
4330 magazine.
4331     </p><p>
4332       Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> is also about old-fashioned
4333 persistence. He is currently in his eighth straight year of writing one song
4334 each day. He holds the Guinness World Record for consecutive daily
4335 songwriting, and he is widely known as the <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
4336     </p><p>
4337       He fell into this role by, naturally, seizing a random opportunity a friend
4338 alerted him to seven years ago—an event called Fun-A-Day, where people are
4339 supposed to create a piece of art every day for thirty-one days straight. He
4340 was in need of a new project, so he decided to give it a try by writing and
4341 posting a song each day.  He added a video component to the songs because he
4342 knew people were more likely to watch video online than simply listening to
4343 audio files.
4344     </p><p>
4345       He had a really good time doing the thirty-one-day challenge, so he decided
4346 to see if he could continue it for one year. He never stopped. He has
4347 written and posted a new song literally every day, seven days a week, since
4348 he began the project in 2009. When he isn’t writing songs that he is hired
4349 to write by clients, he writes songs about whatever is on his mind that
4350 day. His songs are catchy and mostly lighthearted, but they often contain at
4351 least an undercurrent of a deeper theme or meaning. Occasionally, they are
4352 extremely personal, like the song he cowrote with his exgirlfriend
4353 announcing their breakup. Rain or shine, in sickness or health, Jonathan
4354 posts and writes a song every day. If he is on a flight or otherwise
4355 incapable of getting Internet access in time to meet the deadline, he will
4356 prepare ahead and have someone else post the song for him.
4357     </p><p>
4358       Over time, the song-a-day gig became the basis of his livelihood.  In the
4359 beginning, he made money one of two ways. The first was by entering a wide
4360 variety of contests and winning a handful. The second was by having the
4361 occasional song and video go some varying degree of viral, which would bring
4362 more eyeballs and mean that there were more people wanting him to write
4363 songs for them. Today he earns most of his money this way.
4364     </p><p>
4365       His website explains his gig as <span class="quote">“<span class="quote">taking any message, from the super
4366 simple to the totally complicated, and conveying that message through a
4367 heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
4368 song and $300 for an acoustic song. He has been hired for product launches,
4369 weddings, conferences, and even Kickstarter campaigns like the one that
4370 funded the production of this book.
4371     </p><p>
4372       Jonathan can’t recall when exactly he first learned about Creative Commons,
4373 but he began applying CC licenses to his songs and videos as soon as he
4374 discovered the option. <span class="quote">“<span class="quote">CC seems like such a no-brainer,</span>”</span>
4375 Jonathan said. <span class="quote">“<span class="quote">I don’t understand how anything else would make
4376 sense. It seems like such an obvious thing that you would want your work to
4377 be able to be shared.</span>”</span>
4378     </p><p>
4379       His songs are essentially marketing for his services, so obviously the
4380 further his songs spread, the better. Using CC licenses helps grease the
4381 wheels, letting people know that Jonathan allows and encourages them to
4382 copy, interact with, and remix his music.  <span class="quote">“<span class="quote">If you let someone cover
4383 your song or remix it or use parts of it, that’s how music is supposed to
4384 work,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">That is how music has worked since the
4385 beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
4386     </p><p>
4387       There are some people who cover his songs fairly regularly, and he would
4388 never shut that down. But he acknowledges there is a lot more he could do to
4389 build community. <span class="quote">“<span class="quote">There is all of this conventional wisdom about how
4390 to build an audience online, and I generally think I don’t do any of
4391 that,</span>”</span> Jonathan said.
4392     </p><p>
4393       He does have a fan community he cultivates on Bandcamp, but it isn’t his
4394 major focus. <span class="quote">“<span class="quote">I do have a core audience that has stuck around for a
4395 really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
4396 he said. <span class="quote">“<span class="quote">There is also a transitional aspect that drop in and get
4397 what they need and then move on.</span>”</span> Focusing less on community building
4398 than other artists makes sense given Jonathan’s primary income source of
4399 writing custom songs for clients.
4400     </p><p>
4401       Jonathan recognizes what comes naturally to him and leverages those
4402 skills. Through the practice of daily songwriting, he realized he has a gift
4403 for distilling complicated subjects into simple concepts and putting them to
4404 music. In his song <span class="quote">“<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
4405 explained the process of creating a secure password in a silly, simple
4406 song. He was hired to write the song by a client who handed him a long
4407 technical blog post from which to draw the information. Like a good (and
4408 rare) journalist, he translated the technical concepts into something
4409 understandable.
4410     </p><p>
4411       When he is hired by a client to write a song, he first asks them to send a
4412 list of talking points and other information they want to include in the
4413 song. He puts all of that into a text file and starts moving things around,
4414 cutting and pasting until the message starts to come together. The first
4415 thing he tries to do is grok the core message and develop the chorus. Then
4416 he looks for connections or parts he can make rhyme. The entire process
4417 really does resemble good journalism, but of course the final product of his
4418 work is a song rather than news. <span class="quote">“<span class="quote">There is something about being
4419 challenged and forced to take information that doesn’t seem like it should
4420 be sung about or doesn’t seem like it lends itself to a song,</span>”</span> he
4421 said. <span class="quote">“<span class="quote">I find that creative challenge really satisfying. I enjoy
4422 getting lost in that process.</span>”</span>
4423     </p><p>
4424       Jonathan admits that in an ideal world, he would exclusively write the music
4425 he wanted to write, rather than what clients hire him to write. But his
4426 business model is about capitalizing on his strengths as a songwriter, and
4427 he has found a way to keep it interesting for himself.
4428     </p><p>
4429       Jonathan uses nearly every tool possible to make money from his art, but he
4430 does have lines he won’t cross. He won’t write songs about things he
4431 fundamentally does not believe in, and there are times he has turned down
4432 jobs on principle. He also won’t stray too much from his natural
4433 style. <span class="quote">“<span class="quote">My style is silly, so I can’t really accommodate people who
4434 want something super serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do
4435 very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
4436 writing commercials for the same reasons; he is best at using his own unique
4437 style rather than mimicking others.
4438     </p><p>
4439       Jonathan’s song-a-day commitment exemplifies the power of habit and
4440 grit. Conventional wisdom about creative productivity, including advice in
4441 books like the best-seller The Creative Habit by Twyla Tharp, routinely
4442 emphasizes the importance of ritual and action. No amount of planning can
4443 replace the value of simple practice and just doing. Jonathan Mann’s work is
4444 a living embodiment of these principles.
4445     </p><p>
4446       When he speaks about his work, he talks about how much the song-a-day
4447 process has changed him. Rather than seeing any given piece of work as
4448 precious and getting stuck on trying to make it perfect, he has become
4449 comfortable with just doing. If today’s song is a bust, tomorrow’s song
4450 might be better.
4451     </p><p>
4452       Jonathan seems to have this mentality about his career more generally. He is
4453 constantly experimenting with ways to make a living while sharing his work
4454 as widely as possible, seeing what sticks. While he has major
4455 accomplishments he is proud of, like being in the Guinness World Records or
4456 having his song used by Steve Jobs, he says he never truly feels successful.
4457     </p><p><span class="quote">“<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">“<span class="quote">To a certain
4458 extent, a creative person is not ever going to feel completely satisfied
4459 because then so much of what drives you would be gone.</span>”</span>
4460     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Capítulo 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4461         The Noun Project is a for-profit company offering an online platform to
4462 display visual icons from a global network of designers. Founded in 2010 in
4463 the U.S.
4464       </p><p>
4465           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4466         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
4467 fee, charging for custom services
4468       </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
4469       </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
4470       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4471     \textit{
4472         Profile written by Paul Stacey
4473       }
4474     \end{flushright}</td></tr></table></div><p>
4475       The Noun Project creates and shares visual language. There are millions who
4476 use Noun Project symbols to simplify communication across borders,
4477 languages, and cultures.
4478     </p><p>
4479       The original idea for the Noun Project came to cofounder Edward Boatman
4480 while he was a student in architecture design school. He’d always done a lot
4481 of sketches and started to draw what used to fascinate him as a child, like
4482 trains, sequoias, and bulldozers.  He began thinking how great it would be
4483 if he had a simple image or small icon of every single object or concept on
4484 the planet.
4485     </p><p>
4486       When Edward went on to work at an architecture firm, he had to make a lot of
4487 presentation boards for clients. But finding high-quality sources for
4488 symbols and icons was difficult. He couldn’t find any website that could
4489 provide them. Perhaps his idea for creating a library of icons could
4490 actually help people in similar situations.
4491     </p><p>
4492       With his partner, Sofya Polyakov, he began collecting symbols for a website
4493 and writing a business plan. Inspiration came from the book Professor and
4494 the Madman, which chronicles the use of crowdsourcing to create the Oxford
4495 English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and
4496 symbols from volunteer designers around the world.
4497     </p><p>
4498       Then Edward got laid off during the recession, which turned out to be a huge
4499 catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
4500 launched the Noun Project with a Kickstarter campaign, back when Kickstarter
4501 was in its infancy.<a href="#ftn.idm1464" class="footnote" name="idm1464"><sup class="footnote">[126]</sup></a> They thought it’d
4502 be a good way to introduce the global web community to their idea. Their
4503 goal was to raise $1,500, but in twenty days they got over $14,000. They
4504 realized their idea had the potential to be something much bigger.
4505     </p><p>
4506       They created a platform where symbols and icons could be uploaded, and
4507 Edward began recruiting talented designers to contribute their designs, a
4508 process he describes as a relatively easy sell. Lots of designers have old
4509 drawings just gathering <span class="quote">“<span class="quote">digital dust</span>”</span> on their hard
4510 drives. It’s easy to convince them to finally share them with the world.
4511     </p><p>
4512       The Noun Project currently has about seven thousand designers from around
4513 the world. But not all submissions are accepted. The Noun Project’s
4514 quality-review process means that only the best works become part of its
4515 collection. They make sure to provide encouraging, constructive feedback
4516 whenever they reject a piece of work, which maintains and builds the
4517 relationship they have with their global community of designers.
4518     </p><p>
4519       Creative Commons is an integral part of the Noun Project’s business model;
4520 this decision was inspired by Chris Anderson’s book Free: The Future of
4521 Radical Price, which introduced Edward to the idea that you could build a
4522 business model around free content.
4523     </p><p>
4524       Edward knew he wanted to offer a free visual language while still providing
4525 some protection and reward for its contributors. There is a tension between
4526 those two goals, but for Edward, Creative Commons licenses bring this
4527 idealism and business opportunity together elegantly. He chose the
4528 Attribution (CC BY) license, which means people can download the icons for
4529 free and modify them and even use them commercially. The requirement to give
4530 attribution to the original creator ensures that the creator can build a
4531 reputation and get global recognition for their work. And if they simply
4532 want to offer an icon that people can use without having to give credit,
4533 they can use CC0 to put the work into the public domain.
4534     </p><p>
4535       Noun Project’s business model and means of generating revenue have evolved
4536 significantly over time. Their initial plan was to sell T-shirts with the
4537 icons on it, which in retrospect Edward says was a horrible idea. They did
4538 get a lot of email from people saying they loved the icons but asking if
4539 they could pay a fee instead of giving attribution. Ad agencies (among
4540 others) wanted to keep marketing and presentation materials clean and free
4541 of attribution statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
4542 off.</span>”</span>
4543     </p><p>
4544       They asked their global network of designers whether they’d be open to
4545 receiving modest remuneration instead of attribution.  Designers saw it as a
4546 win-win. The idea that you could offer your designs for free and have a
4547 global audience and maybe even make some money was pretty exciting for most
4548 designers.
4549     </p><p>
4550       The Noun Project first adopted a model whereby using an icon without giving
4551 attribution would cost $1.99 per icon. The model’s second iteration added a
4552 subscription component, where there would be a monthly fee to access a
4553 certain number of icons—ten, fifty, a hundred, or five hundred. However,
4554 users didn’t like these hard-count options. They preferred to try out many
4555 similar icons to see which worked best before eventually choosing the one
4556 they wanted to use. So the Noun Project moved to an unlimited model, whereby
4557 users have unlimited access to the whole library for a flat monthly
4558 fee. This service is called NounPro and costs $9.99 per month. Edward says
4559 this model is working well—good for customers, good for creators, and good
4560 for the platform.
4561     </p><p>
4562       Customers then began asking for an application-programming interface (API),
4563 which would allow Noun Project icons and symbols to be directly accessed
4564 from within other applications. Edward knew that the icons and symbols would
4565 be valuable in a lot of different contexts and that they couldn’t possibly
4566 know all of them in advance, so they built an API with a lot of
4567 flexibility.  Knowing that most API applications would want to use the icons
4568 without giving attribution, the API was built with the aim of charging for
4569 its use. You can use what’s called the <span class="quote">“<span class="quote">Playground API</span>”</span> for
4570 free to test how it integrates with your application, but full
4571 implementation will require you to purchase the API Pro version.
4572     </p><p>
4573       The Noun Project shares revenue with its international designers.  For
4574 one-off purchases, the revenue is split 70 percent to the designer and 30
4575 percent to Noun Project.
4576     </p><p>
4577       The revenue from premium purchases (the subscription and API options) is
4578 split a little differently. At the end of each month, the total revenue from
4579 subscriptions is divided by Noun Project’s total number of downloads,
4580 resulting in a rate per download—for example, it could be $0.13 per download
4581 for that month. For each download, the revenue is split 40 percent to the
4582 designer and 60 percent to the Noun Project. (For API usage, it’s per use
4583 instead of per download.) Noun Project’s share is higher this time as it’s
4584 providing more service to the user.
4585     </p><p>
4586       The Noun Project tries to be completely transparent about their royalty
4587 structure.<a href="#ftn.idm1481" class="footnote" name="idm1481"><sup class="footnote">[127]</sup></a> They tend to over
4588 communicate with creators about it because building trust is the top
4589 priority.
4590     </p><p>
4591       For most creators, contributing to the Noun Project is not a full-time job
4592 but something they do on the side. Edward categorizes monthly earnings for
4593 creators into three broad categories: enough money to buy beer; enough to
4594 pay the bills; and most successful of all, enough to pay the rent.
4595     </p><p>
4596       Recently the Noun Project launched a new app called Lingo.  Designers can
4597 use Lingo to organize not just their Noun Project icons and symbols but also
4598 their photos, illustrations, UX designs, et cetera. You simply drag any
4599 visual item directly into Lingo to save it. Lingo also works for teams so
4600 people can share visuals with each other and search across their combined
4601 collections. Lingo is free for personal use. A pro version for $9.99 per
4602 month lets you add guests. A team version for $49.95 per month allows up to
4603 twenty-five team members to collaborate, and to view, use, edit, and add new
4604 assets to each other’s collections.  And if you subscribe to NounPro, you
4605 can access Noun Project from within Lingo.
4606     </p><p>
4607       The Noun Project gives a ton of value away for free. A very large percentage
4608 of their roughly one million members have a free account, but there are
4609 still lots of paid accounts coming from digital designers, advertising and
4610 design agencies, educators, and others who need to communicate ideas
4611 visually.
4612     </p><p>
4613       For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s visual
4614 language</span>”</span> is the most important aspect of what they do; it’s their
4615 stated mission. It differentiates them from others who offer graphics,
4616 icons, or clip art.
4617     </p><p>
4618       Noun Project creators agree. When surveyed on why they participate in the
4619 Noun Project, this is how designers rank their reasons: 1)  to support the
4620 Noun Project mission, 2) to promote their own personal brand, and 3) to
4621 generate money. It’s striking to see that money comes third, and mission,
4622 first. If you want to engage a global network of contributors, it’s
4623 important to have a mission beyond making money.
4624     </p><p>
4625       In Edward’s view, Creative Commons is central to their mission of sharing
4626 and social good. Using Creative Commons makes the Noun Project’s mission
4627 genuine and has generated a lot of their initial traction and
4628 credibility. CC comes with a built-in community of users and fans.
4629     </p><p>
4630       Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a passionate
4631 community around your product or your business. They are going to go to bat
4632 for you when you’re getting ripped in the media. If you go down the road of
4633 choosing to work with Creative Commons, you’re taking the first step to
4634 building a great community and tapping into a really awesome community that
4635 comes with it. But you need to continue to foster that community through
4636 other initiatives and continue to nurture it.</span>”</span>
4637     </p><p>
4638       The Noun Project nurtures their creators’ second motivation—promoting a
4639 personal brand—by connecting every icon and symbol to the creator’s name and
4640 profile page; each profile features their full collection. Users can also
4641 search the icons by the creator’s name.
4642     </p><p>
4643       The Noun Project also builds community through Iconathons—hackathons for
4644 icons.<a href="#ftn.idm1495" class="footnote" name="idm1495"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
4645 organization, the Noun Project comes up with a theme (e.g., sustainable
4646 energy, food bank, guerrilla gardening, human rights) and a list of icons
4647 that are needed, which designers are invited to create at the event.  The
4648 results are vectorized, and added to the Noun Project using CC0 so they can
4649 be used by anyone for free.
4650     </p><p>
4651       Providing a free version of their product that satisfies a lot of their
4652 customers’ needs has actually enabled the Noun Project to build the paid
4653 version, using a service-oriented model. The Noun Project’s success lies in
4654 creating services and content that are a strategic mix of free and paid
4655 while staying true to their mission—creating, sharing, and celebrating the
4656 world’s visual language. Integrating Creative Commons into their model has
4657 been key to that goal.
4658     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1464" class="footnote"><p><a href="#idm1464" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1481" class="footnote"><p><a href="#idm1481" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1495" class="footnote"><p><a href="#idm1495" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Capítulo 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4659         The Open Data Institute is an independent nonprofit that connects, equips,
4660 and inspires people around the world to innovate with data. Founded in 2012
4661 in the UK.
4662       </p><p>
4663           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
4664         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
4665 funding, charging for custom services, donations
4666       </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
4667       </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
4668 director
4669       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4670     \textit{
4671         Profile written by Paul Stacey
4672       }
4673     \end{flushright}</td></tr></table></div><p>
4674       Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
4675 London-based Open Data Institute (ODI) offers data-related training, events,
4676 consulting services, and research. For ODI, Creative Commons licenses are
4677 central to making their own business model and their customers’ open. CC BY
4678 (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
4679 public domain)  all play a critical role in ODI’s mission to help people
4680 around the world innovate with data.
4681     </p><p>
4682       Data underpins planning and decision making across all aspects of
4683 society. Weather data helps farmers know when to plant their crops, flight
4684 time data from airplane companies helps us plan our travel, data on local
4685 housing informs city planning. When this data is not only accurate and
4686 timely, but open and accessible, it opens up new possibilities. Open data
4687 can be a resource businesses use to build new products and services. It can
4688 help governments measure progress, improve efficiency, and target
4689 investments. It can help citizens improve their lives by better
4690 understanding what is happening around them.
4691     </p><p>
4692       The Open Data Institute’s 2012–17 business plan starts out by describing its
4693 vision to establish itself as a world-leading center and to research and be
4694 innovative with the opportunities created by the UK government’s open data
4695 policy. (The government was an early pioneer in open policy and open-data
4696 initiatives.) It goes on to say that the ODI wants to—
4697     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4698           demonstrate the commercial value of open government data and how open-data
4699 policies affect this;
4700         </p></li><li class="listitem"><p>
4701           develop the economic benefits case and business models for open data;
4702         </p></li><li class="listitem"><p>
4703           help UK businesses use open data; and
4704         </p></li><li class="listitem"><p>
4705           show how open data can improve public services.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[129]</sup></a>
4706         </p></li></ul></div><p>
4707       ODI is very explicit about how it wants to make open business models, and
4708 defining what this means. Jeni Tennison, ODI’s technical director, puts it
4709 this way: <span class="quote">“<span class="quote">There is a whole ecosystem of open—open-source software,
4710 open government, open-access research—and a whole ecosystem of data. ODI’s
4711 work cuts across both, with an emphasis on where they overlap—with open
4712 data.</span>”</span> ODI’s particular focus is to show open data’s potential for
4713 revenue.
4714     </p><p>
4715       As an independent nonprofit, ODI secured £10 million over five years from
4716 the UK government via Innovate UK, an agency that promotes innovation in
4717 science and technology. For this funding, ODI has to secure matching funds
4718 from other sources, some of which were met through a $4.75-million
4719 investment from the Omidyar Network.
4720     </p><p>
4721       Jeni started out as a developer and technical architect for data.gov.uk, the
4722 UK government’s pioneering open-data initiative.  She helped make data sets
4723 from government departments available as open data. She joined ODI in 2012
4724 when it was just starting up, as one of six people. It now has a staff of
4725 about sixty.
4726     </p><p>
4727       ODI strives to have half its annual budget come from the core UK government
4728 and Omidyar grants, and the other half from project-based research and
4729 commercial work. In Jeni’s view, having this balance of revenue sources
4730 establishes some stability, but also keeps them motivated to go out and
4731 generate these matching funds in response to market needs.
4732     </p><p>
4733       On the commercial side, ODI generates funding through memberships, training,
4734 and advisory services.
4735     </p><p>
4736       You can join the ODI as an individual or commercial member.  Individual
4737 membership is pay-what-you-can, with options ranging from £1 to
4738 £100. Members receive a newsletter and related communications and a discount
4739 on ODI training courses and the annual summit, and they can display an
4740 ODI-supporter badge on their website. Commercial membership is divided into
4741 two tiers: small to medium size enterprises and nonprofits at £720 a year,
4742 and corporations and government organizations at £2,200 a year.  Commercial
4743 members have greater opportunities to connect and collaborate, explore the
4744 benefits of open data, and unlock new business opportunities. (All members
4745 are listed on their website.)<a href="#ftn.idm1534" class="footnote" name="idm1534"><sup class="footnote">[130]</sup></a>
4746     </p><p>
4747       ODI provides standardized open data training courses in which anyone can
4748 enroll. The initial idea was to offer an intensive and academically oriented
4749 diploma in open data, but it quickly became clear there was no market for
4750 that. Instead, they offered a five-day-long public training course, which
4751 has subsequently been reduced to three days; now the most popular course is
4752 one day long. The fee, in addition to the time commitment, can be a barrier
4753 for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people who would be able to
4754 pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
4755 Public-sector organizations sometimes give vouchers to their employees so
4756 they can attend as a form of professional development.
4757     </p><p>
4758       ODI customizes training for clients as well, for which there is more
4759 demand. Custom training usually emerges through an established relationship
4760 with an organization. The training program is based on a definition of
4761 open-data knowledge as applicable to the organization and on the skills
4762 needed by their high-level executives, management, and technical staff. The
4763 training tends to generate high interest and commitment.
4764     </p><p>
4765       Education about open data is also a part of ODI’s annual summit event, where
4766 curated presentations and speakers showcase the work of ODI and its members
4767 across the entire ecosystem. Tickets to the summit are available to the
4768 public, and hundreds of people and organizations attend and participate. In
4769 2014, there were four thematic tracks and over 750 attendees.
4770     </p><p>
4771       In addition to memberships and training, ODI provides advisory services to
4772 help with technical-data support, technology development, change management,
4773 policies, and other areas. ODI has advised large commercial organizations,
4774 small businesses, and international governments; the focus at the moment is
4775 on government, but ODI is working to shift more toward commercial
4776 organizations.
4777     </p><p>
4778       On the commercial side, the following value propositions seem to resonate:
4779     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4780           Data-driven insights. Businesses need data from outside their business to
4781 get more insight. Businesses can generate value and more effectively pursue
4782 their own goals if they open up their own data too. Big data is a hot topic.
4783         </p></li><li class="listitem"><p>
4784           Open innovation. Many large-scale enterprises are aware they don’t innovate
4785 very well. One way they can innovate is to open up their data. ODI
4786 encourages them to do so even if it exposes problems and challenges. The key
4787 is to invite other people to help while still maintaining organizational
4788 autonomy.
4789         </p></li><li class="listitem"><p>
4790           Corporate social responsibility. While this resonates with businesses, ODI
4791 cautions against having it be the sole reason for making data open. If a
4792 business is just thinking about open data as a way to be transparent and
4793 accountable, they can miss out on efficiencies and opportunities.
4794         </p></li></ul></div><p>
4795       During their early years, ODI wanted to focus solely on the United
4796 Kingdom. But in their first year, large delegations of government visitors
4797 from over fifty countries wanted to learn more about the UK government’s
4798 open-data practices and how ODI saw that translating into economic
4799 value. They were contracted as a service provider to international
4800 governments, which prompted a need to set up international ODI
4801 <span class="quote">“<span class="quote">nodes.</span>”</span>
4802     </p><p>
4803       Nodes are franchises of the ODI at a regional or city level.  Hosted by
4804 existing (for-profit or not-for-profit) organizations, they operate locally
4805 but are part of the global network. Each ODI node adopts the charter, a set
4806 of guiding principles and rules under which ODI operates. They develop and
4807 deliver training, connect people and businesses through membership and
4808 events, and communicate open-data stories from their part of the
4809 world. There are twenty-seven different nodes across nineteen countries. ODI
4810 nodes are charged a small fee to be part of the network and to use the
4811 brand.
4812     </p><p>
4813       ODI also runs programs to help start-ups in the UK and across Europe develop
4814 a sustainable business around open data, offering mentoring, advice,
4815 training, and even office space.<a href="#ftn.idm1554" class="footnote" name="idm1554"><sup class="footnote">[131]</sup></a>
4816     </p><p>
4817       A big part of ODI’s business model revolves around community
4818 building. Memberships, training, summits, consulting services, nodes, and
4819 start-up programs create an ever-growing network of open-data users and
4820 leaders. (In fact, ODI even operates something called an Open Data Leaders
4821 Network.) For ODI, community is key to success. They devote significant time
4822 and effort to build it, not just online but through face-to-face events.
4823     </p><p>
4824       ODI has created an online tool that organizations can use to assess the
4825 legal, practical, technical, and social aspects of their open data. If it is
4826 of high quality, the organization can earn ODI’s Open Data Certificate, a
4827 globally recognized mark that signals that their open data is useful,
4828 reliable, accessible, discoverable, and supported.<a href="#ftn.idm1560" class="footnote" name="idm1560"><sup class="footnote">[132]</sup></a>
4829     </p><p>
4830       Separate from commercial activities, the ODI generates funding through
4831 research grants. Research includes looking at evidence on the impact of open
4832 data, development of open-data tools and standards, and how to deploy open
4833 data at scale.
4834     </p><p>
4835       Creative Commons 4.0 licenses cover database rights and ODI recommends CC
4836 BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
4837 to use Creative Commons licenses rather than creating new <span class="quote">“<span class="quote">open
4838 licenses</span>”</span> of their own.
4839     </p><p>
4840       For ODI, open is at the heart of what they do. They also release any
4841 software code they produce under open-source-software licenses, and
4842 publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
4843 to connect and equip people around the world so they can innovate with
4844 data. Disseminating stories, research, guidance, and code under an open
4845 license is essential for achieving that mission. It also demonstrates that
4846 it is perfectly possible to generate sustainable revenue streams that do not
4847 rely on restrictive licensing of content, data, or code.  People pay to have
4848 ODI experts provide training to them, not for the content of the training;
4849 people pay for the advice ODI gives them, not for the methodologies they
4850 use. Producing open content, data, and source code helps establish
4851 credibility and creates leads for the paid services that they
4852 offer. According to Jeni, <span class="quote">“<span class="quote">The biggest lesson we have learned is that
4853 it is completely possible to be open, get customers, and make money.</span>”</span>
4854     </p><p>
4855       To serve as evidence of a successful open business model and return on
4856 investment, ODI has a public dashboard of key performance indicators. Here
4857 are a few metrics as of April 27, 2016:
4858     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4859           Total amount of cash investments unlocked in direct investments in ODI,
4860 competition funding, direct contracts, and partnerships, and income that ODI
4861 nodes and ODI start-ups have generated since joining the ODI program: £44.5
4862 million
4863         </p></li><li class="listitem"><p>
4864           Total number of active members and nodes across the globe: 1,350
4865         </p></li><li class="listitem"><p>
4866           Total sales since ODI began: £7.44 million
4867         </p></li><li class="listitem"><p>
4868           Total number of unique people reached since ODI began, in person and online:
4869 2.2 million
4870         </p></li><li class="listitem"><p>
4871           Total Open Data Certificates created: 151,000
4872         </p></li><li class="listitem"><p>
4873           Total number of people trained by ODI and its nodes since ODI began:
4874 5,080<a href="#ftn.idm1582" class="footnote" name="idm1582"><sup class="footnote">[133]</sup></a>
4875         </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1534" class="footnote"><p><a href="#idm1534" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1554" class="footnote"><p><a href="#idm1554" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1560" class="footnote"><p><a href="#idm1560" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1582" class="footnote"><p><a href="#idm1582" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Capítulo 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4876         Opendesk is a for-profit company offering an online platform that connects
4877 furniture designers around the world with customers and local makers who
4878 bring the designs to life.  Founded in 2014 in the UK.
4879       </p><p>
4880           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
4881         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
4882       </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
4883       </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
4884 Steiner, cofounders
4885       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4886     \textit{
4887         Profile written by Paul Stacey
4888       }
4889     \end{flushright}</td></tr></table></div><p>
4890       Opendesk is an online platform that connects furniture designers around the
4891 world not just with customers but also with local registered makers who
4892 bring the designs to life. Opendesk and the designer receive a portion of
4893 every sale that is made by a maker.
4894     </p><p>
4895       Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
4896 architects together. They also made goods. Their first client was Mint
4897 Digital, who had an interest in open licensing. Nick and Joni were exploring
4898 digital fabrication, and Mint’s interest in open licensing got them to
4899 thinking how the open-source world may interact and apply to physical
4900 goods. They sought to design something for their client that was also
4901 reproducible. As they put it, they decided to <span class="quote">“<span class="quote">ship the recipe, but
4902 not the goods.</span>”</span> They created the design using software, put it under
4903 an open license, and had it manufactured locally near the client. This was
4904 the start of the idea for Opendesk. The idea for Wikihouse—another open
4905 project dedicated to accessible housing for all—started as discussions
4906 around the same table. The two projects ultimately went on separate paths,
4907 with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
4908 company.
4909     </p><p>
4910       When Nick and Joni set out to create Opendesk, there were a lot of questions
4911 about the viability of distributed manufacturing. No one was doing it in a
4912 way that was even close to realistic or competitive. The design community
4913 had the intent, but fulfilling this vision was still a long way away.
4914     </p><p>
4915       And now this sector is emerging, and Nick and Joni are highly interested in
4916 the commercialization aspects of it. As part of coming up with a business
4917 model, they began investigating intellectual property and licensing
4918 options. It was a thorny space, especially for designs. Just what aspect of
4919 a design is copyrightable? What is patentable? How can allowing for digital
4920 sharing and distribution be balanced against the designer’s desire to still
4921 hold ownership? In the end, they decided there was no need to reinvent the
4922 wheel and settled on using Creative Commons.
4923     </p><p>
4924       When designing the Opendesk system, they had two goals. They wanted anyone,
4925 anywhere in the world, to be able to download designs so that they could be
4926 made locally, and they wanted a viable model that benefited designers when
4927 their designs were sold. Coming up with a business model was going to be
4928 complex.
4929     </p><p>
4930       They gave a lot of thought to three angles—the potential for social sharing,
4931 allowing designers to choose their license, and the impact these choices
4932 would have on the business model.
4933     </p><p>
4934       In support of social sharing, Opendesk actively advocates for (but doesn’t
4935 demand) open licensing. And Nick and Joni are agnostic about which Creative
4936 Commons license is used; it’s up to the designer. They can be proprietary or
4937 choose from the full suite of Creative Commons licenses, deciding for
4938 themselves how open or closed they want to be.
4939     </p><p>
4940       For the most part, designers love the idea of sharing content.  They
4941 understand that you get positive feedback when you’re attributed, what Nick
4942 and Joni called <span class="quote">“<span class="quote">reputational glow.</span>”</span> And Opendesk does an
4943 awesome job profiling the designers.<a href="#ftn.idm1608" class="footnote" name="idm1608"><sup class="footnote">[134]</sup></a>
4944     </p><p>
4945       While designers are largely OK with personal sharing, there is a concern
4946 that someone will take the design and manufacture the furniture in bulk,
4947 with the designer not getting any benefits. So most Opendesk designers
4948 choose the Attribution-NonCommercial license (CC BY-NC).
4949     </p><p>
4950       Anyone can download a design and make it themselves, provided it’s for
4951 noncommercial use — and there have been many, many downloads.  Or users can
4952 buy the product from Opendesk, or from a registered maker in Opendesk’s
4953 network, for on-demand personal fabrication.  The network of Opendesk makers
4954 currently is made up of those who do digital fabrication using a
4955 computer-controlled CNC (Computer Numeric Control) machining device that
4956 cuts shapes out of wooden sheets according to the specifications in the
4957 design file.
4958     </p><p>
4959       Makers benefit from being part of Opendesk’s network. Making furniture for
4960 local customers is paid work, and Opendesk generates business for them. Joni
4961 said, <span class="quote">“<span class="quote">Finding a whole network and community of makers was pretty easy
4962 because we built a site where people could write in about their
4963 capabilities. Building the community by learning from the maker community is
4964 how we have moved forward.</span>”</span> Opendesk now has relationships with
4965 hundreds of makers in countries all around the world.<a href="#ftn.idm1615" class="footnote" name="idm1615"><sup class="footnote">[135]</sup></a>
4966     </p><p>
4967       The makers are a critical part of the Opendesk business model.  Their model
4968 builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
4969 website:
4970     </p><p>
4971       When customers buy an Opendesk product directly from a registered maker,
4972 they pay:
4973     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4974           the manufacturing cost as set by the maker (this covers material and labour
4975 costs for the product to be manufactured and any extra assembly costs
4976 charged by the maker)
4977         </p></li><li class="listitem"><p>
4978           a design fee for the designer (a design fee that is paid to the designer
4979 every time their design is used)
4980         </p></li><li class="listitem"><p>
4981           a percentage fee to the Opendesk platform (this supports the infrastructure
4982 and ongoing development of the platform that helps us build out our
4983 marketplace)
4984         </p></li><li class="listitem"><p>
4985           a percentage fee to the channel through which the sale is made (at the
4986 moment this is Opendesk, but in the future we aim to open this up to
4987 third-party sellers who can sell Opendesk products through their own
4988 channels—this covers sales and marketing fees for the relevant channel)
4989         </p></li><li class="listitem"><p>
4990           a local delivery service charge (the delivery is typically charged by the
4991 maker, but in some cases may be paid to a third-party delivery partner)
4992         </p></li><li class="listitem"><p>
4993           charges for any additional services the customer chooses, such as on-site
4994 assembly (additional services are discretionary—in many cases makers will be
4995 happy to quote for assembly on-site and designers may offer bespoke design
4996 options)
4997         </p></li><li class="listitem"><p>
4998           local sales taxes (variable by customer and maker location)<a href="#ftn.idm1635" class="footnote" name="idm1635"><sup class="footnote">[136]</sup></a>
4999         </p></li></ul></div><p>
5000       They then go into detail how makers’ quotes are created:
5001     </p><p>
5002       When a customer wants to buy an Opendesk . . . they are provided with a
5003 transparent breakdown of fees including the manufacturing cost, design fee,
5004 Opendesk platform fee and channel fees. If a customer opts to buy by getting
5005 in touch directly with a registered local maker using a downloaded Opendesk
5006 file, the maker is responsible for ensuring the design fee, Opendesk
5007 platform fee and channel fees are included in any quote at the time of
5008 sale.  Percentage fees are always based on the underlying manufacturing cost
5009 and are typically apportioned as follows:
5010     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5011           manufacturing cost: fabrication, finishing and any other costs as set by the
5012 maker (excluding any services like delivery or on-site assembly)
5013         </p></li><li class="listitem"><p>
5014           design fee: 8 percent of the manufacturing cost
5015         </p></li><li class="listitem"><p>
5016           platform fee: 12 percent of the manufacturing cost
5017         </p></li><li class="listitem"><p>
5018           channel fee: 18 percent of the manufacturing cost
5019         </p></li><li class="listitem"><p>
5020           sales tax: as applicable (depends on product and location)
5021         </p></li></ul></div><p>
5022       Opendesk shares revenue with their community of designers.  According to
5023 Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
5024 percent is more generous, and providing a higher value to the designer.
5025     </p><p>
5026       The Opendesk website features stories of designers and makers.  Denis Fuzii
5027 published the design for the Valovi Chair from his studio in São Paulo. His
5028 designs have been downloaded over five thousand times in ninety-five
5029 countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
5030 United Kingdom. Opendesk now makes up a large proportion of his business.
5031     </p><p>
5032       To manage resources and remain effective, Opendesk has so far focused on a
5033 very narrow niche—primarily office furniture of a certain simple aesthetic,
5034 which uses only one type of material and one manufacturing technique. This
5035 allows them to be more strategic and more disruptive in the market, by
5036 getting things to market quickly with competitive prices. It also reflects
5037 their vision of creating reproducible and functional pieces.
5038     </p><p>
5039       On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
5040 making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution channel. Makers
5041 get profitable jobs and new customers. You get designer products without the
5042 designer price tag, a more social, eco-friendly alternative to
5043 mass-production and an affordable way to buy custom-made products.</span>”</span>
5044     </p><p>
5045       Nick and Joni say that customers like the fact that the furniture has a
5046 known provenance. People really like that their furniture was designed by a
5047 certain international designer but was made by a maker in their local
5048 community; it’s a great story to tell. It certainly sets apart Opendesk
5049 furniture from the usual mass-produced items from a store.
5050     </p><p>
5051       Nick and Joni are taking a community-based approach to define and evolve
5052 Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model.  They’re
5053 engaging thought leaders and practitioners to define this new movement. They
5054 have a separate Open Making site, which includes a manifesto, a field guide,
5055 and an invitation to get involved in the Open Making community.<a href="#ftn.idm1660" class="footnote" name="idm1660"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
5056 and business practices they’d like to see used.
5057     </p><p>
5058       Nick and Joni talked a lot with us about intellectual property (IP) and
5059 commercialization. Many of their designers fear the idea that someone could
5060 take one of their design files and make and sell infinite number of pieces
5061 of furniture with it. As a consequence, most Opendesk designers choose the
5062 Attribution-NonCommercial license (CC BY-NC).
5063     </p><p>
5064       Opendesk established a set of principles for what their community considers
5065 commercial and noncommercial use. Their website states:
5066     </p><p>
5067       It is unambiguously commercial use when anyone:
5068     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5069           charges a fee or makes a profit when making an Opendesk
5070         </p></li><li class="listitem"><p>
5071           sells (or bases a commercial service on) an Opendesk
5072         </p></li></ul></div><p>
5073       It follows from this that noncommercial use is when you make an Opendesk
5074 yourself, with no intention to gain commercial advantage or monetary
5075 compensation. For example, these qualify as noncommercial:
5076     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5077           you are an individual with your own CNC machine, or access to a shared CNC
5078 machine, and will personally cut and make a few pieces of furniture yourself
5079         </p></li><li class="listitem"><p>
5080           you are a student (or teacher) and you use the design files for educational
5081 purposes or training (and do not intend to sell the resulting pieces)
5082         </p></li><li class="listitem"><p>
5083           you work for a charity and get furniture cut by volunteers, or by employees
5084 at a fab lab or maker space
5085         </p></li></ul></div><p>
5086       Whether or not people technically are doing things that implicate IP, Nick
5087 and Joni have found that people tend to comply with the wishes of creators
5088 out of a sense of fairness. They have found that behavioral economics can
5089 replace some of the thorny legal issues. In their business model, Nick and
5090 Joni are trying to suspend the focus on IP and build an open business model
5091 that works for all stakeholders—designers, channels, manufacturers, and
5092 customers. For them, the value Opendesk generates hangs off
5093 <span class="quote">“<span class="quote">open,</span>”</span> not IP.
5094     </p><p>
5095       The mission of Opendesk is about relocalizing manufacturing, which changes
5096 the way we think about how goods are made.  Commercialization is integral to
5097 their mission, and they’ve begun to focus on success metrics that track how
5098 many makers and designers are engaged through Opendesk in revenue-making
5099 work.
5100     </p><p>
5101       As a global platform for local making, Opendesk’s business model has been
5102 built on honesty, transparency, and inclusivity. As Nick and Joni describe
5103 it, they put ideas out there that get traction and then have faith in
5104 people.
5105     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1608" class="footnote"><p><a href="#idm1608" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1615" class="footnote"><p><a href="#idm1615" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1635" class="footnote"><p><a href="#idm1635" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1660" class="footnote"><p><a href="#idm1660" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Capítulo 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5106         OpenStax is a nonprofit that provides free, openly licensed textbooks for
5107 high-enrollment introductory college courses and Advanced Placement
5108 courses. Founded in 2012 in the U.S.
5109       </p><p>
5110           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5111         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
5112 for custom services, charging for physical copies (textbook sales)
5113       </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
5114       </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5115 editor-in-chief
5116       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5117     \textit{
5118         Profile written by Paul Stacey
5119       }
5120     \end{flushright}</td></tr></table></div><p>
5121       OpenStax is an extension of a program called Connexions, which was started
5122 in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
5123 Electrical and Computer Engineering at Rice University in Houston,
5124 Texas. Frustrated by the limitations of traditional textbooks and courses,
5125 Dr. Baraniuk wanted to provide authors and learners a way to share and
5126 freely adapt educational materials such as courses, books, and
5127 reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
5128 best libraries of customizable educational materials, all licensed with
5129 Creative Commons and available to anyone, anywhere, anytime—for free.
5130     </p><p>
5131       In 2008, while in a senior leadership role at WebAssign and looking at ways
5132 to reduce the risk that came with relying on publishers, David Harris began
5133 investigating open educational resources (OER) and discovered Connexions. A
5134 year and a half later, Connexions received a grant to help grow the use of
5135 OER so that it could meet the needs of students who couldn’t afford
5136 textbooks. David came on board to spearhead this effort.  Connexions became
5137 OpenStax CNX; the program to create open textbooks became OpenStax College,
5138 now simply called OpenStax.
5139     </p><p>
5140       David brought with him a deep understanding of the best practices of
5141 publishing along with where publishers have inefficiencies. In David’s view,
5142 peer review and high standards for quality are critically important if you
5143 want to scale easily. Books have to have logical scope and sequence, they
5144 have to exist as a whole and not in pieces, and they have to be easy to
5145 find. The working hypothesis for the launch of OpenStax was to
5146 professionally produce a turnkey textbook by investing effort up front, with
5147 the expectation that this would lead to rapid growth through easy downstream
5148 adoptions by faculty and students.
5149     </p><p>
5150       In 2012, OpenStax College launched as a nonprofit with the aim of producing
5151 high-quality, peer-reviewed full-color textbooks that would be available for
5152 free for the twenty-five most heavily attended college courses in the
5153 nation. Today they are fast approaching that number. There is data that
5154 proves the success of their original hypothesis on how many students they
5155 could help and how much money they could help save.<a href="#ftn.idm1700" class="footnote" name="idm1700"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
5156 with no sales force!
5157     </p><p>
5158       OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
5159 is available as a PDF, an e-book, or web pages. Those who want a physical
5160 copy can buy one for an affordable price. Given the cost of education and
5161 student debt in North America, free or very low-cost textbooks are very
5162 appealing. OpenStax encourages students to talk to their professor and
5163 librarians about these textbooks and to advocate for their use.
5164     </p><p>
5165       Teachers are invited to try out a single chapter from one of the textbooks
5166 with students. If that goes well, they’re encouraged to adopt the entire
5167 book. They can simply paste a URL into their course syllabus, for free and
5168 unlimited access. And with the CC BY license, teachers are free to delete
5169 chapters, make changes, and customize any book to fit their needs.
5170     </p><p>
5171       Any teacher can post corrections, suggest examples for difficult concepts,
5172 or volunteer as an editor or author. As many teachers also want supplemental
5173 material to accompany a textbook, OpenStax also provides slide
5174 presentations, test banks, answer keys, and so on.
5175     </p><p>
5176       Institutions can stand out by offering students a lower-cost education
5177 through the use of OpenStax textbooks; there’s even a textbook-savings
5178 calculator they can use to see how much students would save. OpenStax keeps
5179 a running list of institutions that have adopted their
5180 textbooks.<a href="#ftn.idm1707" class="footnote" name="idm1707"><sup class="footnote">[139]</sup></a>
5181     </p><p>
5182       Unlike traditional publishers’ monolithic approach of controlling
5183 intellectual property, distribution, and so many other aspects, OpenStax has
5184 adopted a model that embraces open licensing and relies on an extensive
5185 network of partners.
5186     </p><p>
5187       Up-front funding of a professionally produced all-color turnkey textbook is
5188 expensive. For this part of their model, OpenStax relies on
5189 philanthropy. They have initially been funded by the William and Flora
5190 Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
5191 Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
5192 Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
5193 develop additional titles and supporting technology is probably still going
5194 to require philanthropic investment.
5195     </p><p>
5196       However, ongoing operations will not rely on foundation grants but instead
5197 on funds received through an ecosystem of over forty partners, whereby a
5198 partner takes core content from OpenStax and adds features that it can
5199 create revenue from. For example, WebAssign, an online homework and
5200 assessment tool, takes the physics book and adds algorithmically generated
5201 physics problems, with problem-specific feedback, detailed solutions, and
5202 tutorial support. WebAssign resources are available to students for a fee.
5203     </p><p>
5204       Another example is Odigia, who has turned OpenStax books into interactive
5205 learning experiences and created additional tools to measure and promote
5206 student engagement. Odigia licenses its learning platform to
5207 institutions. Partners like Odigia and WebAssign give a percentage of the
5208 revenue they earn back to OpenStax, as mission-support fees. OpenStax has
5209 already published revisions of their titles, such as Introduction to
5210 Sociology 2e, using these funds.
5211     </p><p>
5212       In David’s view, this approach lets the market operate at peak
5213 efficiency. OpenStax’s partners don’t have to worry about developing
5214 textbook content, freeing them up from those development costs and letting
5215 them focus on what they do best.  With OpenStax textbooks available at no
5216 cost, they can provide their services at a lower cost—not free, but still
5217 saving students money. OpenStax benefits not only by receiving
5218 mission-support fees but through free publicity and marketing. OpenStax
5219 doesn’t have a sales force; partners are out there showcasing their
5220 materials.
5221     </p><p>
5222       OpenStax’s cost of sales to acquire a single student is very, very low and
5223 is a fraction of what traditional players in the market face. This year,
5224 Tyton Partners is actually evaluating the costs of sales for an OER effort
5225 like OpenStax in comparison with incumbents. David looks forward to sharing
5226 these findings with the community.
5227     </p><p>
5228       While OpenStax books are available online for free, many students still want
5229 a print copy. Through a partnership with a print and courier company,
5230 OpenStax offers a complete solution that scales.  OpenStax sells tens of
5231 thousands of print books. The price of an OpenStax sociology textbook is
5232 about twenty-eight dollars, a fraction of what sociology textbooks usually
5233 cost. OpenStax keeps the prices low but does aim to earn a small margin on
5234 each book sold, which also contributes to ongoing operations.
5235     </p><p>
5236       Campus-based bookstores are part of the OpenStax solution.  OpenStax
5237 collaborates with NACSCORP (the National Association of College Stores
5238 Corporation) to provide print versions of their textbooks in the
5239 stores. While the overall cost of the textbook is significantly less than a
5240 traditional textbook, bookstores can still make a profit on sales. Sometimes
5241 students take the savings they have from the lower-priced book and use it to
5242 buy other things in the bookstore. And OpenStax is trying to break the
5243 expensive behavior of excessive returns by having a no-returns policy. This
5244 is working well, since the sell-through of their print titles is virtually a
5245 hundred percent.
5246     </p><p>
5247       David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So what is OER
5248 1.0? Historically in the OER field, many OER initiatives have been locally
5249 funded by institutions or government ministries. In David’s view, this
5250 results in content that has high local value but is infrequently adopted
5251 nationally. It’s therefore difficult to show payback over a time scale that
5252 is reasonable.
5253     </p><p>
5254       OER 2.0 is about OER intended to be used and adopted on a national level
5255 right from the start. This requires a bigger investment up front but pays
5256 off through wide geographic adoption. The OER 2.0 process for OpenStax
5257 involves two development models. The first is what David calls the
5258 acquisition model, where OpenStax purchases the rights from a publisher or
5259 author for an already published book and then extensively revises it. The
5260 OpenStax physics textbook, for example, was licensed from an author after
5261 the publisher released the rights back to the authors. The second model is
5262 to develop a book from scratch, a good example being their biology book.
5263     </p><p>
5264       The process is similar for both models. First they look at the scope and
5265 sequence of existing textbooks. They ask questions like what does the
5266 customer need? Where are students having challenges? Then they identify
5267 potential authors and put them through a rigorous evaluation—only one in ten
5268 authors make it through.  OpenStax selects a team of authors who come
5269 together to develop a template for a chapter and collectively write the
5270 first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
5271 books with just a single author as David says it risks the project going
5272 longer than scheduled.) The draft is peer-reviewed with no less than three
5273 reviewers per chapter. A second draft is generated, with artists producing
5274 illustrations and visuals to go along with the text. The book is then
5275 copyedited to ensure grammatical correctness and a singular voice. Finally,
5276 it goes into production and through a final proofread. The whole process is
5277 very time-consuming.
5278     </p><p>
5279       All the people involved in this process are paid. OpenStax does not rely on
5280 volunteers. Writers, reviewers, illustrators, and editors are all paid an
5281 up-front fee—OpenStax does not use a royalty model. A best-selling author
5282 might make more money under the traditional publishing model, but that is
5283 only maybe 5 percent of all authors. From David’s perspective, 95 percent of
5284 all authors do better under the OER 2.0 model, as there is no risk to them
5285 and they earn all the money up front.
5286     </p><p>
5287       David thinks of the Attribution license (CC BY) as the <span class="quote">“<span class="quote">innovation
5288 license.</span>”</span> It’s core to the mission of OpenStax, letting people use
5289 their textbooks in innovative ways without having to ask for permission. It
5290 frees up the whole market and has been central to OpenStax being able to
5291 bring on partners.  OpenStax sees a lot of customization of their
5292 materials. By enabling frictionless remixing, CC BY gives teachers control
5293 and academic freedom.
5294     </p><p>
5295       Using CC BY is also a good example of using strategies that traditional
5296 publishers can’t. Traditional publishers rely on copyright to prevent others
5297 from making copies and heavily invest in digital rights management to ensure
5298 their books aren’t shared.  By using CC BY, OpenStax avoids having to deal
5299 with digital rights management and its costs. OpenStax books can be copied
5300 and shared over and over again. CC BY changes the rules of engagement and
5301 takes advantage of traditional market inefficiencies.
5302     </p><p>
5303       As of September 16, 2016, OpenStax has achieved some impressive
5304 results. From the OpenStax at a Glance fact sheet from their recent press
5305 kit:
5306     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5307           Books published: 23
5308         </p></li><li class="listitem"><p>
5309           Students who have used OpenStax: 1.6 million
5310         </p></li><li class="listitem"><p>
5311           Money saved for students: $155 million
5312         </p></li><li class="listitem"><p>
5313           Money saved for students in the 2016/17 academic year: $77 million
5314         </p></li><li class="listitem"><p>
5315           Schools that have used OpenStax: 2,668 (This number reflects all
5316 institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
5317 are two-year colleges, 835 four-year colleges and universities, and 344
5318 colleges and universities outside the U.S.)
5319         </p></li></ul></div><p>
5320       While OpenStax has to date been focused on the United States, there is
5321 overseas adoption especially in the science, technology, engineering, and
5322 math (STEM) fields. Large scale adoption in the United States is seen as a
5323 necessary precursor to international interest.
5324     </p><p>
5325       OpenStax has primarily focused on introductory-level college courses where
5326 there is high enrollment, but they are starting to think about verticals—a
5327 broad offering for a specific group or need. David thinks it would be
5328 terrific if OpenStax could provide access to free textbooks through the
5329 entire curriculum of a nursing degree, for example.
5330     </p><p>
5331       Finally, for OpenStax success is not just about the adoption of their
5332 textbooks and student savings. There is a human aspect to the work that is
5333 hard to quantify but incredibly important. They get emails from students
5334 saying how OpenStax saved them from making difficult choices like buying
5335 food or a textbook. OpenStax would also like to assess the impact their
5336 books have on learning efficiency, persistence, and completion. By building
5337 an open business model based on Creative Commons, OpenStax is making it
5338 possible for every student who wants access to education to get it.
5339     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1700" class="footnote"><p><a href="#idm1700" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1707" class="footnote"><p><a href="#idm1707" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Capítulo 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5340         Amanda Palmer is a musician, artist, and writer. Based in the U.S.
5341       </p><p>
5342           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5343         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5344 (subscription-based), pay-what-you-want, charging for physical copies (book
5345 and album sales), charg-ing for in-person version (performances), selling
5346 merchandise
5347       </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
5348       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5349     \textit{
5350         Profile written by Sarah Hinchliff Pearson
5351       }
5352     \end{flushright}</td></tr></table></div><p>
5353       Since the beginning of her career, Amanda Palmer has been on what she calls
5354 a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
5355 new ways to sustain her creative work.<a href="#ftn.idm1754" class="footnote" name="idm1754"><sup class="footnote">[140]</sup></a>
5356     </p><p>
5357       In her best-selling book, The Art of Asking, Amanda articulates exactly what
5358 she has been and continues to strive for—<span class="quote">“<span class="quote">the ideal sweet spot
5359 . . . in which the artist can share freely and directly feel the
5360 reverberations of their artistic gifts to the community, and make a living
5361 doing that.</span>”</span>
5362     </p><p>
5363       While she seems to have successfully found that sweet spot for herself,
5364 Amanda is the first to acknowledge there is no silver bullet. She thinks the
5365 digital age is both an exciting and frustrating time for creators. <span class="quote">“<span class="quote">On
5366 the one hand, we have this beautiful shareability,</span>”</span> Amanda
5367 said. <span class="quote">“<span class="quote">On the other, you’ve got a bunch of confused artists wondering
5368 how to make money to buy food so we can make more art.</span>”</span>
5369     </p><p>
5370       Amanda began her artistic career as a street performer. She would dress up
5371 in an antique wedding gown, paint her face white, stand on a stack of milk
5372 crates, and hand out flowers to strangers as part of a silent dramatic
5373 performance. She collected money in a hat. Most people walked by her without
5374 stopping, but an essential few stopped to watch and drop some money into her
5375 hat to show their appreciation. Rather than dwelling on the majority of
5376 people who ignored her, she felt thankful for those who stopped.  <span class="quote">“<span class="quote">All
5377 I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">“<span class="quote">Enough
5378 people. Enough to make it worth coming back the next day, enough people to
5379 help me make rent and put food on the table. Enough so I could keep making
5380 art.</span>”</span>
5381     </p><p>
5382       Amanda has come a long way from her street-performing days, but her career
5383 remains dominated by that same sentiment—finding ways to reach <span class="quote">“<span class="quote">her
5384 crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
5385 Dolls, Amanda tried the traditional path of signing with a record label. It
5386 didn’t take for a variety of reasons, but one of them was that the label had
5387 absolutely no interest in Amanda’s view of success. They wanted hits, but
5388 making music for the masses was never what Amanda and the Dresden Dolls set
5389 out to do.
5390     </p><p>
5391       After leaving the record label in 2008, she began experimenting with
5392 different ways to make a living. She released music directly to the public
5393 without involving a middle man, releasing digital files on a <span class="quote">“<span class="quote">pay what
5394 you want</span>”</span> basis and selling CDs and vinyl. She also made money from
5395 live performances and merchandise sales. Eventually, in 2012 she decided to
5396 try her hand at the sort of crowdfunding we know so well today. Her
5397 Kickstarter project started with a goal of $100,000, and she made $1.2
5398 million. It remains one of the most successful Kickstarter projects of all
5399 time.
5400     </p><p>
5401       Today, Amanda has switched gears away from crowdfunding for specific
5402 projects to instead getting consistent financial support from her fan base
5403 on Patreon, a crowdfunding site that allows artists to get recurring
5404 donations from fans. More than eight thousand people have signed up to
5405 support her so she can create music, art, and any other creative
5406 <span class="quote">“<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
5407 made on a <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
5408 made freely available under an Attribution-NonCommercial-ShareAlike license
5409 (CC BY-NC-SA).
5410     </p><p>
5411       Making her music and art available under Creative Commons licensing
5412 undoubtedly limits her options for how she makes a living. But sharing her
5413 work has been part of her model since the beginning of her career, even
5414 before she discovered Creative Commons. Amanda says the Dresden Dolls used
5415 to get ten emails per week from fans asking if they could use their music
5416 for different projects. They said yes to all of the requests, as long as it
5417 wasn’t for a completely for-profit venture. At the time, they used a
5418 short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made everyone sign
5419 that contract so at least I wouldn’t be leaving the band vulnerable to
5420 someone later going on and putting our music in a Camel cigarette
5421 ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
5422 licenses was an easy decision because it gave them a more formal,
5423 standardized way of doing what they had been doing all along. The
5424 NonCommercial licenses were a natural fit.
5425     </p><p>
5426       Amanda embraces the way her fans share and build upon her music.  In The Art
5427 of Asking, she wrote that some of her fans’ unofficial videos using her
5428 music surpass the official videos in number of views on YouTube. Rather than
5429 seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">“<span class="quote">We
5430 got into this because we wanted to share the joy of music,</span>”</span> she said.
5431     </p><p>
5432       This is symbolic of how nearly everything she does in her career is
5433 motivated by a desire to connect with her fans. At the start of her career,
5434 she and the band would throw concerts at house parties. As the gatherings
5435 grew, the line between fans and friends was completely blurred. <span class="quote">“<span class="quote">Not
5436 only did most our early fans know where I lived and where we practiced, but
5437 most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
5438 Asking.
5439     </p><p>
5440       Even though her fan base is now huge and global, she continues to seek this
5441 sort of human connection with her fans. She seeks out face-to-face contact
5442 with her fans every chance she can get. Her hugely successful Kickstarter
5443 featured fifty concerts at house parties for backers. She spends hours in
5444 the signing line after shows. It helps that Amanda has the kind of dynamic,
5445 engaging personality that instantly draws people to her, but a big component
5446 of her ability to connect with people is her willingness to
5447 listen. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill unto
5448 itself,</span>”</span> Amanda wrote.
5449     </p><p>
5450       Another part of the connection fans feel with Amanda is how much they know
5451 about her life. Rather than trying to craft a public persona or image, she
5452 essentially lives her life as an open book.  She has written openly about
5453 incredibly personal events in her life, and she isn’t afraid to be
5454 vulnerable. Having that kind of trust in her fans—the trust it takes to be
5455 truly honest—begets trust from her fans in return. When she meets fans for
5456 the first time after a show, they can legitimately feel like they know her.
5457     </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture looking
5458 palatable and consumable that we forget that being human and showing the
5459 flaws and exposing the vulnerability actually create a deeper connection
5460 than just looking fantastic,</span>”</span> Amanda said. <span class="quote">“<span class="quote">Everything in our
5461 culture is telling us otherwise. But my experience has shown me that the
5462 risk of making yourself vulnerable is almost always worth it.</span>”</span>
5463     </p><p>
5464       Not only does she disclose intimate details of her life to them, she sleeps
5465 on their couches, listens to their stories, cries with them. In short, she
5466 treats her fans like friends in nearly every possible way, even when they
5467 are complete strangers. This mentality—that fans are friends—is completely
5468 intertwined with Amanda’s success as an artist. It is also intertwined with
5469 her use of Creative Commons licenses. Because that is what you do with your
5470 friends—you share.
5471     </p><p>
5472       After years of investing time and energy into building trust with her fans,
5473 she has a strong enough relationship with them to ask for support—through
5474 pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
5475 lend a hand at a concert. As Amanda explains it, crowdfunding (which is
5476 really what all of these different things are) is about asking for support
5477 from people who know and trust you. People who feel personally invested in
5478 your success.
5479     </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take care of
5480 you, they become your allies, your family,</span>”</span> she wrote. There really
5481 is a feeling of solidarity within her core fan base. From the beginning,
5482 Amanda and her band encouraged people to dress up for their shows. They
5483 consciously cultivated a feeling of belonging to their <span class="quote">“<span class="quote">weird little
5484 family.</span>”</span>
5485     </p><p>
5486       This sort of intimacy with fans is not possible or even desirable for every
5487 creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen to be the type of
5488 person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I
5489 recognize that it’s not necessarily everyone’s idea of a good time. Everyone
5490 does it differently. Replicating what I have done won’t work for others if
5491 it isn’t joyful to them. It’s about finding a way to channel energy in a way
5492 that is joyful to you.</span>”</span>
5493     </p><p>
5494       Yet while Amanda joyfully interacts with her fans and involves them in her
5495 work as much as possible, she does keep one job primarily to herself—writing
5496 the music. She loves the creativity with which her fans use and adapt her
5497 work, but she intentionally does not involve them at the first stage of
5498 creating her artistic work. And, of course, the songs and music are what
5499 initially draw people to Amanda Palmer. It is only once she has connected to
5500 people through her music that she can then begin to build ties with them on
5501 a more personal level, both in person and online. In her book, Amanda
5502 describes it as casting a net. It starts with the art and then the bond
5503 strengthens with human connection.
5504     </p><p>
5505       For Amanda, the entire point of being an artist is to establish and maintain
5506 this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">“<span class="quote">but my
5507 experience in forty years on this planet has pointed me to an obvious
5508 truth—that connection with human beings feels so much better and more
5509 fulfilling than approaching art through a capitalist lens. There is no more
5510 satisfying end goal than having someone tell you that what you do is
5511 genuinely of value to them.</span>”</span>
5512     </p><p>
5513       As she explains it, when a fan gives her a ten-dollar bill, usually what
5514 they are saying is that the money symbolizes some deeper value the music
5515 provided them. For Amanda, art is not just a product; it’s a
5516 relationship. Viewed from this lens, what Amanda does today is not that
5517 different from what she did as a young street performer. She shares her
5518 music and other artistic gifts.  She shares herself. And then rather than
5519 forcing people to help her, she lets them.
5520     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1754" class="footnote"><p><a href="#idm1754" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Capítulo 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5521         PLOS (Public Library of Science) is a nonprofit that publishes a library of
5522 academic journals and other scientific literature.  Founded in 2000 in the
5523 U.S.
5524       </p><p>
5525           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
5526         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
5527 an author processing charge to be featured in the journal
5528       </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
5529       </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
5530       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5531     \textit{
5532         Profile written by Paul Stacey
5533       }
5534     \end{flushright}</td></tr></table></div><p>
5535       The Public Library of Science (PLOS) began in 2000 when three leading
5536 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
5537 online petition. They were calling for scientists to stop submitting papers
5538 to journals that didn’t make the full text of their papers freely available
5539 immediately or within six months. Although tens of thousands signed the
5540 petition, most did not follow through. In August 2001, Patrick and Michael
5541 announced that they would start their own nonprofit publishing operation to
5542 do just what the petition promised. With start-up grant support from the
5543 Gordon and Betty Moore Foundation, PLOS was launched to provide new
5544 open-access journals for biomedicine, with research articles being released
5545 under Attribution (CC BY) licenses.
5546     </p><p>
5547       Traditionally, academic publishing begins with an author submitting a
5548 manuscript to a publisher. After in-house technical and ethical
5549 considerations, the article is then peer-reviewed to determine if the
5550 quality of the work is acceptable for publishing.  Once accepted, the
5551 publisher takes the article through the process of copyediting, typesetting,
5552 and eventual publishing in a print or online publication. Traditional
5553 journal publishers recover costs and earn profit by charging a subscription
5554 fee to libraries or an access fee to users wanting to read the journal or
5555 article.
5556     </p><p>
5557       For Louise Page, the current publisher of PLOS, this traditional model
5558 results in inequity. Access is restricted to those who can pay. Most
5559 research is funded through government-appointed agencies, that is, with
5560 public funds. It’s unjust that the public who funded the research would be
5561 required to pay again to access the results. Not everyone can afford the
5562 ever-escalating subscription fees publishers charge, especially when library
5563 budgets are being reduced. Restricting access to the results of scientific
5564 research slows the dissemination of this research and advancement of the
5565 field. It was time for a new model.
5566     </p><p>
5567       That new model became known as open access. That is, free and open
5568 availability on the Internet. Open-access research articles are not behind a
5569 paywall and do not require a login. A key benefit of open access is that it
5570 allows people to freely use, copy, and distribute the articles, as they are
5571 primarily published under an Attribution (CC BY) license (which only
5572 requires the user to provide appropriate attribution). And more importantly,
5573 policy makers, clinicians, entrepreneurs, educators, and students around the
5574 world have free and timely access to the latest research immediately on
5575 publication.
5576     </p><p>
5577       However, open access requires rethinking the business model of research
5578 publication. Rather than charge a subscription fee to access the journal,
5579 PLOS decided to turn the model on its head and charge a publication fee,
5580 known as an article-processing charge.  This up-front fee, generally paid by
5581 the funder of the research or the author’s institution, covers the expenses
5582 such as editorial oversight, peer-review management, journal production,
5583 online hosting, and support for discovery. Fees are per article and are
5584 billed upon acceptance for publishing. There are no additional charges based
5585 on word length, figures, or other elements.
5586     </p><p>
5587       Calculating the article-processing charge involves taking all the costs
5588 associated with publishing the journal and determining a cost per article
5589 that collectively recovers costs. For PLOS’s journals in biology, medicine,
5590 genetics, computational biology, neglected tropical diseases, and pathogens,
5591 the article-processing charge ranges from $2,250 to
5592 $2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
5593 are just under $1,500.
5594     </p><p>
5595       PLOS believes that lack of funds should not be a barrier to
5596 publication. Since its inception, PLOS has provided fee support for
5597 individuals and institutions to help authors who can’t afford the
5598 article-processing charges.
5599     </p><p>
5600       Louise identifies marketing as one area of big difference between PLOS and
5601 traditional journal publishers. Traditional journals have to invest heavily
5602 in staff, buildings, and infrastructure to market their journal and convince
5603 customers to subscribe.  Restricting access to subscribers means that tools
5604 for managing access control are necessary. They spend millions of dollars on
5605 access-control systems, staff to manage them, and sales staff.  With PLOS’s
5606 open-access publishing, there’s no need for these massive expenses; the
5607 articles are free, open, and accessible to all upon
5608 publication. Additionally, traditional publishers tend to spend more on
5609 marketing to libraries, who ultimately pay the subscription fees. PLOS
5610 provides a better service for authors by promoting their research directly
5611 to the research community and giving the authors exposure. And this
5612 encourages other authors to submit their work for publication.
5613     </p><p>
5614       For Louise, PLOS would not exist without the Attribution license (CC
5615 BY). This makes it very clear what rights are associated with the content
5616 and provides a safe way for researchers to make their work available while
5617 ensuring they get recognition (appropriate attribution). For PLOS, all of
5618 this aligns with how they think research content should be published and
5619 disseminated.
5620     </p><p>
5621       PLOS also has a broad open-data policy. To get their research paper
5622 published, PLOS authors must also make their data available in a public
5623 repository and provide a data-availability statement.
5624     </p><p>
5625       Business-operation costs associated with the open-access model still largely
5626 follow the existing publishing model. PLOS journals are online only, but the
5627 editorial, peer-review, production, typesetting, and publishing stages are
5628 all the same as for a traditional publisher. The editorial teams must be top
5629 notch. PLOS has to function as well as or better than other premier
5630 journals, as researchers have a choice about where to publish.
5631     </p><p>
5632       Researchers are influenced by journal rankings, which reflect the place of a
5633 journal within its field, the relative difficulty of being published in that
5634 journal, and the prestige associated with it. PLOS journals rank high, even
5635 though they are relatively new.
5636     </p><p>
5637       The promotion and tenure of researchers are partially based how many times
5638 other researchers cite their articles. Louise says when researchers want to
5639 discover and read the work of others in their field, they go to an online
5640 aggregator or search engine, and not typically to a particular journal. The
5641 CC BY licensing of PLOS research articles ensures easy access for readers
5642 and generates more discovery and citations for authors.
5643     </p><p>
5644       Louise believes that open access has been a huge success, progressing from a
5645 movement led by a small cadre of researchers to something that is now
5646 widespread and used in some form by every journal publisher. PLOS has had a
5647 big impact. In 2012 to 2014, they published more open-access articles than
5648 BioMed Central, the original open-access publisher, or anyone else.
5649     </p><p>
5650       PLOS further disrupted the traditional journal-publishing model by
5651 pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
5652 in 2006, is an open-access peer-reviewed academic journal that is much
5653 larger than a traditional journal, publishing thousands of articles per year
5654 and benefiting from economies of scale. PLOS ONE has a broad scope, covering
5655 science and medicine as well as social sciences and the humanities. The
5656 review and editorial process is less subjective. Articles are accepted for
5657 publication based on whether they are technically sound rather than
5658 perceived importance or relevance. This is very important in the current
5659 debate about the integrity and reproducibility of research because negative
5660 or null results can then be published as well, which are generally rejected
5661 by traditional journals. PLOS ONE, like all the PLOS journals, is online
5662 only with no print version. PLOS passes on the financial savings accrued
5663 through economies of scale to researchers and the public by lowering the
5664 article-processing charges, which are below that of other journals. PLOS ONE
5665 is the biggest journal in the world and has really set the bar for
5666 publishing academic journal articles on a large scale. Other publishers see
5667 the value of the PLOS ONE model and are now offering their own
5668 multidisciplinary forums for publishing all sound science.
5669     </p><p>
5670       Louise outlined some other aspects of the research-journal business model
5671 PLOS is experimenting with, describing each as a kind of slider that could
5672 be adjusted to change current practice.
5673     </p><p>
5674       One slider is time to publication. Time to publication may shorten as
5675 journals get better at providing quicker decisions to authors.  However,
5676 there is always a trade-off with scale, as the bigger the volume of
5677 articles, the more time the approval process inevitably takes.
5678     </p><p>
5679       Peer review is another part of the process that could change. It’s possible
5680 to redefine what peer review actually is, when to review, and what
5681 constitutes the final article for publication. Louise talked about the
5682 potential to shift to an open-review process, placing the emphasis on
5683 transparency rather than double-blind reviews. Louise thinks we’re moving
5684 into a direction where it’s actually beneficial for an author to know who is
5685 reviewing their paper and for the reviewer to know their review will be
5686 public. An open-review process can also ensure everyone gets credit; right
5687 now, credit is limited to the publisher and author.
5688     </p><p>
5689       Louise says research with negative outcomes is almost as important as
5690 positive results. If journals published more research with negative
5691 outcomes, we’d learn from what didn’t work. It could also reduce how much
5692 the research wheel gets reinvented around the world.
5693     </p><p>
5694       Another adjustable practice is the sharing of articles at early preprint
5695 stages. Publication of research in a peer-reviewed journal can take a long
5696 time because articles must undergo extensive peer review. The need to
5697 quickly circulate current results within a scientific community has led to a
5698 practice of distributing pre-print documents that have not yet undergone
5699 peer review. Preprints broaden the peer-review process, allowing authors to
5700 receive early feedback from a wide group of peers, which can help revise and
5701 prepare the article for submission.  Offsetting the advantages of preprints
5702 are author concerns over ensuring their primacy of being first to come up
5703 with findings based on their research. Other researches may see findings the
5704 preprint author has not yet thought of. However, preprints help researchers
5705 get their discoveries out early and establish precedence. A big challenge is
5706 that researchers don’t have a lot of time to comment on preprints.
5707     </p><p>
5708       What constitutes a journal article could also change. The idea of a research
5709 article as printed, bound, and in a library stack is outdated. Digital and
5710 online open up new possibilities, such as a living document evolving over
5711 time, inclusion of audio and video, and interactivity, like discussion and
5712 recommendations. Even the size of what gets published could change. With
5713 these changes the current form factor for what constitutes a research
5714 article would undergo transformation.
5715     </p><p>
5716       As journals scale up, and new journals are introduced, more and more
5717 information is being pushed out to readers, making the experience feel like
5718 drinking from a fire hose. To help mitigate this, PLOS aggregates and
5719 curates content from PLOS journals and their network of blogs.<a href="#ftn.idm1832" class="footnote" name="idm1832"><sup class="footnote">[141]</sup></a> It also offers something called Article-Level
5720 Metrics, which helps users assess research most relevant to the field
5721 itself, based on indicators like usage, citations, social bookmarking and
5722 dissemination activity, media and blog coverage, discussions, and
5723 ratings.<a href="#ftn.idm1835" class="footnote" name="idm1835"><sup class="footnote">[142]</sup></a> Louise believes that the
5724 journal model could evolve to provide a more friendly and interactive user
5725 experience, including a way for readers to communicate with authors.
5726     </p><p>
5727       The big picture for PLOS going forward is to combine and adjust these
5728 experimental practices in ways that continue to improve accessibility and
5729 dissemination of research, while ensuring its integrity and reliability. The
5730 ways they interlink are complex.  The process of change and adjustment is
5731 not linear. PLOS sees itself as a very flexible publisher interested in
5732 exploring all the permutations research-publishing can take, with authors
5733 and readers who are open to experimentation.
5734     </p><p>
5735       For PLOS, success is not about revenue. Success is about proving that
5736 scientific research can be communicated rapidly and economically at scale,
5737 for the benefit of researchers and society.  The CC BY license makes it
5738 possible for PLOS to publish in a way that is unfettered, open, and fast,
5739 while ensuring that the authors get credit for their work. More than two
5740 million scientists, scholars, and clinicians visit PLOS every month, with
5741 more than 135,000 quality articles to peruse for free.
5742     </p><p>
5743       Ultimately, for PLOS, its authors, and its readers, success is about making
5744 research discoverable, available, and reproducible for the advancement of
5745 science.
5746     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1832" class="footnote"><p><a href="#idm1832" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1835" class="footnote"><p><a href="#idm1835" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Capítulo 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5747         The Rijksmuseum is a Dutch national museum dedicated to art and
5748 history. Founded in 1800 in the Netherlands
5749       </p><p>
5750           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
5751         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
5752 funding, charging for in-person version (museum admission), selling
5753 merchandise
5754       </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
5755       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
5756 manager of the collections information department
5757       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5758     \textit{
5759         Profile written by Paul Stacey
5760       }
5761     \end{flushright}</td></tr></table></div><p>
5762       The Rijksmuseum, a national museum in the Netherlands dedicated to art and
5763 history, has been housed in its current building since 1885. The monumental
5764 building enjoyed more than 125 years of intensive use before needing a
5765 thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
5766 was found in the roof, and although the museum was scheduled to be closed
5767 for only three to four years, renovations ended up taking ten years. During
5768 this time, the collection was moved to a different part of Amsterdam, which
5769 created a physical distance with the curators. Out of necessity, they
5770 started digitally photographing the collection and creating metadata
5771 (information about each object to put into a database). With the renovations
5772 going on for so long, the museum became largely forgotten by the public. Out
5773 of these circumstances emerged a new and more open model for the museum.
5774     </p><p>
5775       By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
5776 staff were fed up with the situation the museum was in.  They also realized
5777 that even with the new and larger space, it still wouldn’t be able to show
5778 very much of the whole collection—eight thousand of over one million works
5779 representing just 1 percent. Staff began exploring ways to express
5780 themselves, to have something to show for all of the work they had been
5781 doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
5782 a way for the museum provide benefit to the public while it was closed? They
5783 began thinking about sharing Rijksmuseum’s collection using information
5784 technology. And they put up a card-catalog like database of the entire
5785 collection online.
5786     </p><p>
5787       It was effective but a bit boring. It was just data. A hackathon they were
5788 invited to got them to start talking about events like that as having
5789 potential. They liked the idea of inviting people to do cool stuff with
5790 their collection. What about giving online access to digital representations
5791 of the one hundred most important pieces in the Rijksmuseum collection? That
5792 eventually led to why not put the whole collection online?
5793     </p><p>
5794       Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
5795 library, museum, and archive for cultural heritage.<a href="#ftn.idm1858" class="footnote" name="idm1858"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
5796 across Europe, Europeana had become an important online platform. In October
5797 2010 Creative Commons released CC0 and its public-domain mark as tools
5798 people could use to identify works as free of known copyright. Europeana was
5799 the first major adopter, using CC0 to release metadata about their
5800 collection and the public domain mark for millions of digital works in their
5801 collection. Lizzy says the Rijksmuseum initially found this change in
5802 business practice a bit scary, but at the same time it stimulated even more
5803 discussion on whether the Rijksmuseum should follow suit.
5804     </p><p>
5805       They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection and couldn’t
5806 realistically monitor and enforce compliance with the restrictive licensing
5807 terms they currently had in place. For example, many copies and versions of
5808 Vermeer’s Milkmaid (part of their collection) were already online, many of
5809 them of very poor quality. They could spend time and money policing its use,
5810 but it would probably be futile and wouldn’t make people stop using their
5811 images online. They ended up thinking it’s an utter waste of time to hunt
5812 down people who use the Rijksmuseum collection. And anyway, restricting
5813 access meant the people they were frustrating the most were schoolkids.
5814     </p><p>
5815       In 2011 the Rijksmuseum began making their digital photos of works known to
5816 be free of copyright available online, using Creative Commons CC0 to place
5817 works in the public domain. A medium-resolution image was offered for free,
5818 but a high-resolution version cost forty euros. People started paying, but
5819 Lizzy says getting the money was frequently a nightmare, especially from
5820 overseas customers. The administrative costs often offset revenue, and
5821 income above costs was relatively low. In addition, having to pay for an
5822 image of a work in the public domain from a collection owned by the Dutch
5823 government (i.e., paid for by the public) was contentious and frustrating
5824 for some. Lizzy says they had lots of fierce debates about what to do.
5825     </p><p>
5826       In 2013 the Rijksmuseum changed its business model. They Creative Commons
5827 licensed their highest-quality images and released them online for
5828 free. Digitization still cost money, however; they decided to define
5829 discrete digitization projects and find sponsors willing to fund each
5830 project. This turned out to be a successful strategy, generating high
5831 interest from sponsors and lower administrative effort for the
5832 Rijksmuseum. They started out making 150,000 high-quality images of their
5833 collection available, with the goal to eventually have the entire collection
5834 online.
5835     </p><p>
5836       Releasing these high-quality images for free reduced the number of
5837 poor-quality images that were proliferating. The high-quality image of
5838 Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
5839 month. On the Internet, images from a source like the Rijksmuseum are more
5840 trusted, and releasing them with a Creative Commons CC0 means they can
5841 easily be found in other platforms. For example, Rijksmuseum images are now
5842 used in thousands of Wikipedia articles, receiving ten to eleven million
5843 views per month. This extends Rijksmuseum’s reach far beyond the scope of
5844 its website. Sharing these images online creates what Lizzy calls the
5845 <span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
5846 people want to see it in real life by visiting the actual museum.
5847     </p><p>
5848       Every museum tends to be driven by the number of physical visitors. The
5849 Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
5850 its operating budget from the government.  But like many museums, it must
5851 generate the rest of the funding through other means. The admission fee has
5852 long been a way to generate revenue generation, including for the
5853 Rijksmuseum.
5854     </p><p>
5855       As museums create a digital presence for themselves and put up digital
5856 representations of their collection online, there’s frequently a worry that
5857 it will lead to a drop in actual physical visits. For the Rijksmuseum, this
5858 has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
5859 about one million visitors a year before closing and now gets more than two
5860 million a year. Making the collection available online has generated
5861 publicity and acts as a form of marketing. The Creative Commons mark
5862 encourages reuse as well. When the image is found on protest leaflets, milk
5863 cartons, and children’s toys, people also see what museum the image comes
5864 from and this increases the museum’s visibility.
5865     </p><p>
5866       In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
5867 a new web presence that would be different from any other museum’s. In
5868 addition to redesigning their main website to be mobile friendly and
5869 responsive to devices like the iPad, the Rijksmuseum also created the
5870 Rijksstudio, where users and artists could use and do various things with
5871 the Rijksmuseum collection.<a href="#ftn.idm1870" class="footnote" name="idm1870"><sup class="footnote">[144]</sup></a>
5872     </p><p>
5873       The Rijksstudio gives users access to over two hundred thousand high-quality
5874 digital representations of masterworks from the collection. Users can zoom
5875 in to any work and even clip small parts of images they like. Rijksstudio is
5876 a bit like Pinterest.  You can <span class="quote">“<span class="quote">like</span>”</span> works and compile your
5877 personal favorites, and you can share them with friends or download them
5878 free of charge. All the images in the Rijksstudio are copyright and royalty
5879 free, and users are encouraged to use them as they like, for private or even
5880 commercial purposes.
5881     </p><p>
5882       Users have created over 276,000 Rijksstudios, generating their own themed
5883 virtual exhibitions on a wide variety of topics ranging from tapestries to
5884 ugly babies and birds. Sets of images have also been created for educational
5885 purposes including use for school exams.
5886     </p><p>
5887       Some contemporary artists who have works in the Rijksmuseum collection
5888 contacted them to ask why their works were not included in the
5889 Rijksstudio. The answer was that contemporary artists’ works are still bound
5890 by copyright. The Rijksmuseum does encourage contemporary artists to use a
5891 Creative Commons license for their works, usually a CC BY-SA license
5892 (Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
5893 want to preclude commercial use. That way, their works can be made available
5894 to the public, but within limits the artists have specified.
5895     </p><p>
5896       The Rijksmuseum believes that art stimulates entrepreneurial activity. The
5897 line between creative and commercial can be blurry.  As Lizzy says, even
5898 Rembrandt was commercial, making his livelihood from selling his
5899 paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
5900 images in Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy
5901 to inspire people to sell their creations. One great example you can find on
5902 Etsy is a kimono designed by Angie Johnson, who used an image of an
5903 elaborate cabinet along with an oil painting by Jan Asselijn called The
5904 Threatened Swan.<a href="#ftn.idm1878" class="footnote" name="idm1878"><sup class="footnote">[145]</sup></a>
5905     </p><p>
5906       In 2013 the Rijksmuseum organized their first high-profile design
5907 competition, known as the Rijksstudio Award.<a href="#ftn.idm1882" class="footnote" name="idm1882"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
5908 invites the public to use Rijksstudio images to make new creative designs. A
5909 jury of renowned designers and curators selects ten finalists and three
5910 winners. The final award comes with a prize of €10,000. The second edition
5911 in 2015 attracted a staggering 892 top-class entries. Some award winners end
5912 up with their work sold through the Rijksmuseum store, such as the 2014
5913 entry featuring makeup based on a specific color scheme of a work of
5914 art.<a href="#ftn.idm1887" class="footnote" name="idm1887"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
5915 with the results.  Entries range from the fun to the weird to the
5916 inspirational. The third international edition of the Rijksstudio Award
5917 started in September 2016.
5918     </p><p>
5919       For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
5920 upload tool, for people to upload their own works of art, and enhanced
5921 social elements so users can interact with each other more.
5922     </p><p>
5923       Going with a more open business model generated lots of publicity for the
5924 Rijksmuseum. They were one of the first museums to open up their collection
5925 (that is, give free access) with high-quality images. This strategy, along
5926 with the many improvements to the Rijksmuseum’s website, dramatically
5927 increased visits to their website from thirty-five thousand visits per month
5928 to three hundred thousand.
5929     </p><p>
5930       The Rijksmuseum has been experimenting with other ways to invite the public
5931 to look at and interact with their collection. On an international day
5932 celebrating animals, they ran a successful bird-themed event. The museum put
5933 together a showing of two thousand works that featured birds and invited
5934 bird-watchers to identify the birds depicted. Lizzy notes that while museum
5935 curators know a lot about the works in their collections, they may not know
5936 about certain details in the paintings such as bird species. Over eight
5937 hundred different birds were identified, including a specific species of
5938 crane bird that was unknown to the scientific community at the time of the
5939 painting.
5940     </p><p>
5941       For the Rijksmuseum, adopting an open business model was scary.  They came
5942 up with many worst-case scenarios, imagining all kinds of awful things
5943 people might do with the museum’s works. But Lizzy says those fears did not
5944 come true because <span class="quote">“<span class="quote">ninety-nine percent of people have respect for
5945 great art.</span>”</span> Many museums think they can make a lot of money by
5946 selling things related to their collection. But in Lizzy’s experience,
5947 museums are usually bad at selling things, and sometimes efforts to generate
5948 a small amount of money block something much bigger—the real value that the
5949 collection has. For Lizzy, clinging to small amounts of revenue is being
5950 penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
5951 never lose sight of its vision for the collection. Allowing access to and
5952 use of their collection has generated great promotional value—far more than
5953 the previous practice of charging fees for access and use. Lizzy sums up
5954 their experience: <span class="quote">“<span class="quote">Give away; get something in return.  Generosity
5955 makes people happy to join you and help out.</span>”</span>
5956     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1858" class="footnote"><p><a href="#idm1858" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1870" class="footnote"><p><a href="#idm1870" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1878" class="footnote"><p><a href="#idm1878" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1882" class="footnote"><p><a href="#idm1882" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
5957 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
5958 the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1887" class="footnote"><p><a href="#idm1887" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Capítulo 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5959         Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
5960       </p><p>
5961           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
5962         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5963 crowdfunding (project-based), donations, sponsorships
5964       </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
5965       </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
5966 executive editor
5967       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5968     \textit{
5969         Profile written by Sarah Hinchliff Pearson
5970       }
5971     \end{flushright}</td></tr></table></div><p>
5972       In 2013, Shareable faced an impasse. The nonprofit online publication had
5973 helped start a sharing movement four years prior, but over time, they
5974 watched one part of the movement stray from its ideals. As giants like Uber
5975 and Airbnb gained ground, attention began to center on the <span class="quote">“<span class="quote">sharing
5976 economy</span>”</span> we know now—profit-driven, transactional, and loaded with
5977 venture-capital money. Leaders of corporate start-ups in this domain invited
5978 Shareable to advocate for them. The magazine faced a choice: ride the wave
5979 or stand on principle.
5980     </p><p>
5981       As an organization, Shareable decided to draw a line in the sand.  In 2013,
5982 the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
5983 the PandoDaily that charted Shareable’s new critical stance on the Silicon
5984 Valley version of the sharing economy, while contrasting it with aspects of
5985 the real sharing economy like open-source software, participatory budgeting
5986 (where citizens decide how a public budget is spent), cooperatives, and
5987 more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative consumption is
5988 dead, it’s more that it risks dying as it gets absorbed by the
5989 <span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
5990     </p><p>
5991       Neal said their public critique of the corporate sharing economy defined
5992 what Shareable was and is. He does not think the magazine would still be
5993 around had they chosen differently. <span class="quote">“<span class="quote">We would have gotten another type
5994 of audience, but it would have spelled the end of us,</span>”</span> he
5995 said. <span class="quote">“<span class="quote">We are a small, mission-driven organization. We would never
5996 have been able to weather the criticism that Airbnb and Uber are getting
5997 now.</span>”</span>
5998     </p><p>
5999       Interestingly, impassioned supporters are only a small sliver of Shareable’s
6000 total audience. Most are casual readers who come across a Shareable story
6001 because it happens to align with a project or interest they have. But
6002 choosing principles over the possibility of riding the coattails of the
6003 major corporate players in the sharing space saved Shareable’s
6004 credibility. Although they became detached from the corporate sharing
6005 economy, the online magazine became the voice of the <span class="quote">“<span class="quote">real sharing
6006 economy</span>”</span> and continued to grow their audience.
6007     </p><p>
6008       Shareable is a magazine, but the content they publish is a means to
6009 furthering their role as a leader and catalyst of a movement.  Shareable
6010 became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that time, there was a
6011 sharing movement bubbling beneath the surface, but no one was connecting the
6012 dots,</span>”</span> Neal said. <span class="quote">“<span class="quote">We decided to step into that space and take
6013 on that role.</span>”</span> The small team behind the nonprofit publication truly
6014 believed sharing could be central to solving some of the major problems
6015 human beings face—resource inequality, social isolation, and global warming.
6016     </p><p>
6017       They have worked hard to find ways to tell stories that show different
6018 metrics for success. <span class="quote">“<span class="quote">We wanted to change the notion of what
6019 constitutes the good life,</span>”</span> Neal said. While they started out with a
6020 very broad focus on sharing generally, today they emphasize stories about
6021 the physical commons like <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas
6022 managed in a sustainable, cooperative way), as well as digital platforms
6023 that are run democratically. They particularly focus on how-to content that
6024 help their readers make changes in their own lives and communities.
6025     </p><p>
6026       More than half of Shareable’s stories are written by paid journalists that
6027 are contracted by the magazine.  <span class="quote">“<span class="quote">Particularly in content areas that
6028 are a priority for us, we really want to go deep and control the
6029 quality,</span>”</span> Neal said. The rest of the content is either contributed by
6030 guest writers, often for free, or written by other publications from their
6031 network of content publishers. Shareable is a member of the Post Growth
6032 Alliance, which facilitates the sharing of content and audiences among a
6033 large and growing group of mostly nonprofits.  Each organization gets a
6034 chance to present stories to the group, and the organizations can use and
6035 promote each other’s stories.  Much of the content created by the network is
6036 licensed with Creative Commons.
6037     </p><p>
6038       All of Shareable’s original content is published under the Attribution
6039 license (CC BY), meaning it can be used for any purpose as long as credit is
6040 given to Shareable. Creative Commons licensing is aligned with Shareable’s
6041 vision, mission, and identity. That alone explains the organization’s
6042 embrace of the licenses for their content, but Neal also believes CC
6043 licensing helps them increase their reach. <span class="quote">“<span class="quote">By using CC
6044 licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far more
6045 people through a formal and informal network of republishers or
6046 affiliates. That has definitely been the case. It’s hard for us to measure
6047 the reach of other media properties, but most of the outlets who republish
6048 our work have much bigger audiences than we do.</span>”</span>
6049     </p><p>
6050       In addition to their regular news and commentary online, Shareable has also
6051 experimented with book publishing. In 2012, they worked with a traditional
6052 publisher to release Share or Die: Voices of the Get Lost Generation in an
6053 Age of Crisis. The CC-licensed book was available in print form for purchase
6054 or online for free. To this day, the book—along with their CC-licensed guide
6055 Policies for Shareable Cities—are two of the biggest generators of traffic
6056 on their website.
6057     </p><p>
6058       In 2016, Shareable self-published a book of curated Shareable stories called
6059 How to: Share, Save Money and Have Fun. The book was available for sale, but
6060 a PDF version of the book was available for free. Shareable plans to offer
6061 the book in upcoming fund-raising campaigns.
6062     </p><p>
6063       This recent book is one of many fund-raising experiments Shareable has
6064 conducted in recent years. Currently, Shareable is primarily funded by
6065 grants from foundations, but they are actively moving toward a more
6066 diversified model. They have organizational sponsors and are working to
6067 expand their base of individual donors.  Ideally, they will eventually be a
6068 hundred percent funded by their audience. Neal believes being fully
6069 community-supported will better represent their vision of the world.
6070     </p><p>
6071       For Shareable, success is very much about their impact on the world. This is
6072 true for Neal, but also for everyone who works for Shareable. <span class="quote">“<span class="quote">We
6073 attract passionate people,</span>”</span> Neal said.  At times, that means
6074 employees work so hard they burn out. Neal tries to stress to the Shareable
6075 team that another part of success is having fun and taking care of yourself
6076 while you do something you love. <span class="quote">“<span class="quote">A central part of human beings is
6077 that we long to be on a great adventure with people we love,</span>”</span> he
6078 said.  <span class="quote">“<span class="quote">We are a species who look over the horizon and imagine and
6079 create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
6080     </p><p>
6081       In 2013, Shareable ran its first crowdfunding campaign to launch their
6082 Sharing Cities Network. Neal said at first they were on pace to fail
6083 spectacularly. They called in their advisers in a panic and asked for
6084 help. The advice they received was simple—<span class="quote">“<span class="quote">Sit your ass in a chair and
6085 start making calls.</span>”</span> That’s exactly what they did, and they ended up
6086 reaching their $50,000 goal. Neal said the campaign helped them reach new
6087 people, but the vast majority of backers were people in their existing base.
6088     </p><p>
6089       For Neal, this symbolized how so much of success comes down to
6090 relationships. Over time, Shareable has invested time and energy into the
6091 relationships they have forged with their readers and supporters. They have
6092 also invested resources into building relationships between their readers
6093 and supporters.
6094     </p><p>
6095       Shareable began hosting events in 2010. These events were designed to bring
6096 the sharing community together. But over time they realized they could reach
6097 far more people if they helped their readers to host their own
6098 events. <span class="quote">“<span class="quote">If we wanted to go big on a conference, there was a huge risk
6099 and huge staffing needs, plus only a fraction of our community could travel
6100 to the event,</span>”</span> Neal said. Enabling others to create their own events
6101 around the globe allowed them to scale up their work more effectively and
6102 reach far more people. Shareable has catalyzed three hundred different
6103 events reaching over twenty thousand people since implementing this strategy
6104 three years ago. Going forward, Shareable is focusing the network on
6105 creating and distributing content meant to spur local action. For instance,
6106 Shareable will publish a new CC-licensed book in 2017 filled with ideas for
6107 their network to implement.
6108     </p><p>
6109       Neal says Shareable stumbled upon this strategy, but it seems to perfectly
6110 encapsulate just how the commons is supposed to work.  Rather than a
6111 one-size-fits-all approach, Shareable puts the tools out there for people
6112 take the ideas and adapt them to their own communities.
6113     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Capítulo 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6114         Siyavula is a for-profit educational-technology company that creates
6115 textbooks and integrated learning experiences. Founded in 2012 in South
6116 Africa.
6117       </p><p>
6118           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6119         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
6120 services, sponsorships
6121       </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6122       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6123       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6124     \textit{
6125         Profile written by Paul Stacey
6126       }
6127     \end{flushright}</td></tr></table></div><p>
6128       Openness is a key principle for Siyavula. They believe that every learner
6129 and teacher should have access to high-quality educational resources, as
6130 this forms the basis for long-term growth and development. Siyavula has been
6131 a pioneer in creating high-quality open textbooks on mathematics and science
6132 subjects for grades 4 to 12 in South Africa.
6133     </p><p>
6134       In terms of creating an open business model that involves Creative Commons,
6135 Siyavula—and its founder, Mark Horner—have been around the block a few
6136 times. Siyavula has significantly shifted directions and strategies to
6137 survive and prosper. Mark says it’s been very organic.
6138     </p><p>
6139       It all started in 2002, when Mark and several other colleagues at the
6140 University of Cape Town in South Africa founded the Free High School Science
6141 Texts project. Most students in South Africa high schools didn’t have access
6142 to high-quality, comprehensive science and math textbooks, so Mark and his
6143 colleagues set out to write them and make them freely available.
6144     </p><p>
6145       As physicists, Mark and his colleagues were advocates of open-source
6146 software. To make the books open and free, they adopted the Free Software
6147 Foundation’s GNU Free Documentation License.<a href="#ftn.idm1960" class="footnote" name="idm1960"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
6148 documents, to author the books. Over a period of five years, the Free High
6149 School Science Texts project produced math and physical-science textbooks
6150 for grades 10 to 12.
6151     </p><p>
6152       In 2007, the Shuttleworth Foundation offered funding support to make the
6153 textbooks available for trial use at more schools.  Surveys before and after
6154 the textbooks were adopted showed there were no substantial criticisms of
6155 the textbooks’ pedagogical content. This pleased both the authors and
6156 Shuttleworth; Mark remains incredibly proud of this accomplishment.
6157     </p><p>
6158       But the development of new textbooks froze at this stage. Mark shifted his
6159 focus to rural schools, which didn’t have textbooks at all, and looked into
6160 the printing and distribution options. A few sponsors came on board but not
6161 enough to meet the need.
6162     </p><p>
6163       In 2007, Shuttleworth and the Open Society Institute convened a group of
6164 open-education activists for a small but lively meeting in Cape Town. One
6165 result was the Cape Town Open Education Declaration, a statement of
6166 principles, strategies, and commitment to help the open-education movement
6167 grow.<a href="#ftn.idm1966" class="footnote" name="idm1966"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
6168 run a project writing open content for all subjects for K–12 in
6169 English. That project became Siyavula.
6170     </p><p>
6171       They wrote six original textbooks. A small publishing company offered
6172 Shuttleworth the option to buy out the publisher’s existing K–9 content for
6173 every subject in South African schools in both English and Afrikaans. A deal
6174 was struck, and all the acquired content was licensed with Creative Commons,
6175 significantly expanding the collection beyond the six original books.
6176     </p><p>
6177       Mark wanted to build out the remaining curricula collaboratively through
6178 communities of practice—that is, with fellow educators and writers. Although
6179 sharing is fundamental to teaching, there can be a few challenges when you
6180 create educational resources collectively. One concern is legal. It is
6181 standard practice in education to copy diagrams and snippets of text, but of
6182 course this doesn’t always comply with copyright law. Another concern is
6183 transparency. Sharing what you’ve authored means everyone can see it and
6184 opens you up to criticism. To alleviate these concerns, Mark adopted a
6185 team-based approach to authoring and insisted the curricula be based
6186 entirely on resources with Creative Commons licenses, thereby ensuring they
6187 were safe to share and free from legal repercussions.
6188     </p><p>
6189       Not only did Mark want the resources to be shareable, he wanted all teachers
6190 to be able to remix and edit the content. Mark and his team had to come up
6191 with an open editable format and provide tools for editing. They ended up
6192 putting all the books they’d acquired and authored on a platform called
6193 Connexions.<a href="#ftn.idm1972" class="footnote" name="idm1972"><sup class="footnote">[150]</sup></a> Siyavula trained many
6194 teachers to use Connexions, but it proved to be too complex and the
6195 textbooks were rarely edited.
6196     </p><p>
6197       Then the Shuttleworth Foundation decided to completely restructure its work
6198 as a foundation into a fellowship model (for reasons completely unrelated to
6199 Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
6200 an independent entity and took ownership over it as a Shuttleworth fellow.
6201     </p><p>
6202       Mark and his team experimented with several different strategies.  They
6203 tried creating an authoring and hosting platform called Full Marks so that
6204 teachers could share assessment items. They tried creating a service called
6205 Open Press, where teachers could ask for open educational resources to be
6206 aggregated into a package and printed for them. These services never really
6207 panned out.
6208     </p><p>
6209       Then the South African government approached Siyavula with an interest in
6210 printing out the original six Free High School Science Texts (math and
6211 physical-science textbooks for grades 10 to 12)  for all high school
6212 students in South Africa. Although at this point Siyavula was a bit
6213 discouraged by open educational resources, they saw this as a big
6214 opportunity.
6215     </p><p>
6216       They began to conceive of the six books as having massive marketing
6217 potential for Siyavula. Printing Siyavula books for every kid in South
6218 Africa would give their brand huge exposure and could drive vast amounts of
6219 traffic to their website. In addition to print books, Siyavula could also
6220 make the books available on their website, making it possible for learners
6221 to access them using any device—computer, tablet, or mobile phone.
6222     </p><p>
6223       Mark and his team began imagining what they could develop beyond what was in
6224 the textbooks as a service they charge for. One key thing you can’t do well
6225 in a printed textbook is demonstrate solutions. Typically, a one-line answer
6226 is given at the end of the book but nothing on the process for arriving at
6227 that solution.  Mark and his team developed practice items and detailed
6228 solutions, giving learners plenty of opportunity to test out what they’ve
6229 learned. Furthermore, an algorithm could adapt these practice items to the
6230 individual needs of each learner. They called this service Intelligent
6231 Practice and embedded links to it in the open textbooks.
6232     </p><p>
6233       The costs for using Intelligent Practice were set very low, making it
6234 accessible even to those with limited financial means. Siyavula was going
6235 for large volumes and wide-scale use rather than an expensive product
6236 targeting only the high end of the market.
6237     </p><p>
6238       The government distributed the books to 1.5 million students, but there was
6239 an unexpected wrinkle: the books were delivered late.  Rather than wait,
6240 schools who could afford it provided students with a different textbook. The
6241 Siyavula books were eventually distributed, but with well-off schools mainly
6242 using a different book, the primary market for Siyavula’s Intelligent
6243 Practice service inadvertently became low-income learners.
6244     </p><p>
6245       Siyavula’s site did see a dramatic increase in traffic. They got five
6246 hundred thousand visitors per month to their math site and the same number
6247 to their science site. Two-fifths of the traffic was reading on a
6248 <span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
6249 phones were reading math and science on a two-inch screen at all hours of
6250 the day. To Mark, it was quite amazing and spoke to a need they were
6251 servicing.
6252     </p><p>
6253       At first, the Intelligent Practice services could only be paid using a
6254 credit card. This proved problematic, especially for those in the low-income
6255 demographic, as credit cards were not prevalent.  Mark says Siyavula got a
6256 harsh business-model lesson early on. As he describes it, it’s not just
6257 about product, but how you sell it, who the market is, what the price is,
6258 and what the barriers to entry are.
6259     </p><p>
6260       Mark describes this as the first version of Siyavula’s business model: open
6261 textbooks serving as marketing material and driving traffic to your site,
6262 where you can offer a related service and convert some people into a paid
6263 customer.
6264     </p><p>
6265       For Mark a key decision for Siyavula’s business was to focus on how they can
6266 add value on top of their basic service. They’ll charge only if they are
6267 adding unique value. The actual content of the textbook isn’t unique at all,
6268 so Siyavula sees no value in locking it down and charging for it. Mark
6269 contrasts this with traditional publishers who charge over and over again
6270 for the same content without adding value.
6271     </p><p>
6272       Version two of Siyavula’s business model was a big, ambitious idea—scale
6273 up. They also decided to sell the Intelligent Practice service to schools
6274 directly. Schools can subscribe on a per-student, per-subject basis. A
6275 single subscription gives a learner access to a single subject, including
6276 practice content from every grade available for that subject. Lower
6277 subscription rates are provided when there are over two hundred students,
6278 and big schools have a price cap. A 40 percent discount is offered to
6279 schools where both the science and math departments subscribe.
6280     </p><p>
6281       Teachers get a dashboard that allows them to monitor the progress of an
6282 entire class or view an individual learner’s results. They can see the
6283 questions that learners are working on, identify areas of difficulty, and be
6284 more strategic in their teaching. Students also have their own personalized
6285 dashboard, where they can view the sections they’ve practiced, how many
6286 points they’ve earned, and how their performance is improving.
6287     </p><p>
6288       Based on the success of this effort, Siyavula decided to substantially
6289 increase the production of open educational resources so they could provide
6290 the Intelligent Practice service for a wider range of books. Grades 10 to 12
6291 math and science books were reworked each year, and new books created for
6292 grades 4 to 6 and later grades 7 to 9.
6293     </p><p>
6294       In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
6295 produced a series of natural sciences and technology workbooks for grades 4
6296 to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1991" class="footnote" name="idm1991"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
6297 teacher’s guides and other resources.
6298     </p><p>
6299       Through this experience, Siyavula learned they could get sponsors to help
6300 fund openly licensed textbooks. It helped that Siyavula had by this time
6301 nailed the production model. It cost roughly $150,000 to produce a book in
6302 two languages. Sponsors liked the social-benefit aspect of textbooks
6303 unlocked via a Creative Commons license. They also liked the exposure their
6304 brand got. For roughly $150,000, their logo would be visible on books
6305 distributed to over one million students.
6306     </p><p>
6307       The Siyavula books that are reviewed, approved, and branded by the
6308 government are freely and openly available on Siyavula’s website under an
6309 Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
6310 cannot be modified. Non-government-branded books are available under an
6311 Attribution license (CC BY), allowing others to modify and redistribute the
6312 books.
6313     </p><p>
6314       Although the South African government paid to print and distribute hard
6315 copies of the books to schoolkids, Siyavula itself received no funding from
6316 the government. Siyavula initially tried to convince the government to
6317 provide them with five rand per book (about US35¢). With those funds, Mark
6318 says that Siyavula could have run its entire operation, built a
6319 community-based model for producing more books, and provide Intelligent
6320 Practice for free to every child in the country. But after a lengthy
6321 negotiation, the government said no.
6322     </p><p>
6323       Using Siyavula books generated huge savings for the government.  Providing
6324 students with a traditionally published grade 12 science or math textbook
6325 costs around 250 rand per book (about US$18).  Providing the Siyavula
6326 version cost around 36 rand (about $2.60), a savings of over 200 rand per
6327 book. But none of those savings were passed on to Siyavula. In retrospect,
6328 Mark thinks this may have turned out in their favor as it allowed them to
6329 remain independent from the government.
6330     </p><p>
6331       Just as Siyavula was planning to scale up the production of open textbooks
6332 even more, the South African government changed its textbook policy. To save
6333 costs, the government declared there would be only one authorized textbook
6334 for each grade and each subject. There was no guarantee that Siyavula’s
6335 would be chosen.  This scared away potential sponsors.
6336     </p><p>
6337       Rather than producing more textbooks, Siyavula focused on improving its
6338 Intelligent Practice technology for its existing books. Mark calls this
6339 version three of Siyavula’s business model—focusing on the technology that
6340 provides the revenue-generating service and generating more users of this
6341 service. Version three got a significant boost in 2014 with an investment by
6342 the Omidyar Network (the philanthropic venture started by eBay founder
6343 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
6344 today.
6345     </p><p>
6346       Mark says sales are way up, and they are really nailing Intelligent
6347 Practice. Schools continue to use their open textbooks. The
6348 government-announced policy that there would be only one textbook per
6349 subject turned out to be highly contentious and is in limbo.
6350     </p><p>
6351       Siyavula is exploring a range of enhancements to their business model. These
6352 include charging a small amount for assessment services provided over the
6353 phone, diversifying their market to all English-speaking countries in
6354 Africa, and setting up a consortium that makes Intelligent Practice free to
6355 all kids by selling the nonpersonal data Intelligent Practice collects.
6356     </p><p>
6357       Siyavula is a for-profit business but one with a social mission.  Their
6358 shareholders’ agreement lists lots of requirements around openness for
6359 Siyavula, including stipulations that content always be put under an open
6360 license and that they can’t charge for something that people volunteered to
6361 do for them. They believe each individual should have access to the
6362 resources and support they need to achieve the education they
6363 deserve. Having educational resources openly licensed with Creative Commons
6364 means they can fulfill their social mission, on top of which they can build
6365 revenue-generating services to sustain the ongoing operation of Siyavula. In
6366 terms of open business models, Mark and Siyavula may have been around the
6367 block a few times, but both he and the company are stronger for it.
6368     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1960" class="footnote"><p><a href="#idm1960" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1966" class="footnote"><p><a href="#idm1966" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1972" class="footnote"><p><a href="#idm1972" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1991" class="footnote"><p><a href="#idm1991" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Capítulo 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6369         SparkFun is an online electronics retailer specializing in open
6370 hardware. Founded in 2003 in the U.S.
6371       </p><p>
6372           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
6373         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
6374 copies (electronics sales)
6375       </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
6376       </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
6377       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6378     \textit{
6379         Profile written by Sarah Hinchliff Pearson
6380       }
6381     \end{flushright}</td></tr></table></div><p>
6382       SparkFun founder and former CEO Nathan Seidle has a picture of himself
6383 holding up a clone of a SparkFun product in an electronics market in China,
6384 with a huge grin on his face. He was traveling in China when he came across
6385 their LilyPad wearable technology being made by someone else. His reaction
6386 was glee.
6387     </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
6388 Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that they were selling to a
6389 market we were never going to get access to otherwise. It was evidence of
6390 our impact on the world.</span>”</span>
6391     </p><p>
6392       This worldview runs through everything SparkFun does. SparkFun is an
6393 electronics manufacturer. The company sells its products directly to the
6394 public online, and it bundles them with educational tools to sell to schools
6395 and teachers. SparkFun applies Creative Commons licenses to all of its
6396 schematics, images, tutorial content, and curricula, so anyone can make
6397 their products on their own. Being copied is part of the design.
6398     </p><p>
6399       Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It touches on
6400 our natural human instinct to share,</span>”</span> he said.  But he also strongly
6401 believes it makes SparkFun better at what they do. They encourage copying,
6402 and their products are copied at a very fast rate, often within ten to
6403 twelve weeks of release.  This forces the company to compete on something
6404 other than product design, or what most commonly consider their intellectual
6405 property.
6406     </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
6407 <span class="quote">“<span class="quote">Claiming your territory with intellectual property allows you to get
6408 comfy and rest on your laurels. It gives you a safety net. We took away that
6409 safety net.</span>”</span>
6410     </p><p>
6411       The result is an intense company-wide focus on product development and
6412 improvement. <span class="quote">“<span class="quote">Our products are so much better than they were five
6413 years ago,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We used to just sell products. Now
6414 it’s a product plus a video, a seventeen-page hookup guide, and example
6415 firmware on three different platforms to get you up and running faster. We
6416 have gotten better because we had to in order to compete. As painful as it
6417 is for us, it’s better for the customers.</span>”</span>
6418     </p><p>
6419       SparkFun parts are available on eBay for lower prices. But people come
6420 directly to SparkFun because SparkFun makes their lives easier. The example
6421 code works; there is a service number to call; they ship replacement parts
6422 the day they get a service call. They invest heavily in service and
6423 support. <span class="quote">“<span class="quote">I don’t believe businesses should be competing with IP
6424 [intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the
6425 stuff they should be competing on.</span>”</span>
6426     </p><p>
6427       SparkFun’s company history began in Nathan’s college dorm room. He spent a
6428 lot of time experimenting with and building electronics, and he realized
6429 there was a void in the market. <span class="quote">“<span class="quote">If you wanted to place an order for
6430 something,</span>”</span> he said, <span class="quote">“<span class="quote">you first had to search far and wide to
6431 find it, and then you had to call or fax someone.</span>”</span> In 2003, during
6432 his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
6433 and started reselling products out of his bedroom. After he graduated, he
6434 started making and selling his own products.
6435     </p><p>
6436       Once he started designing his own products, he began putting the software
6437 and schematics online to help with technical support.  After doing some
6438 research on licensing options, he chose Creative Commons licenses because he
6439 was drawn to the <span class="quote">“<span class="quote">human-readable deeds</span>”</span> that explain the
6440 licensing terms in simple terms.  SparkFun still uses CC licenses for all of
6441 the schematics and firmware for the products they create.
6442     </p><p>
6443       The company has grown from a solo project to a corporation with 140
6444 employees. In 2015, SparkFun earned $33 million in revenue.  Selling
6445 components and widgets to hobbyists, professionals, and artists remains a
6446 major part of SparkFun’s business. They sell their own products, but they
6447 also partner with Arduino (also profiled in this book) by manufacturing
6448 boards for resale using Arduino’s brand.
6449     </p><p>
6450       SparkFun also has an educational department dedicated to creating a hands-on
6451 curriculum to teach students about electronics using prototyping
6452 parts. Because SparkFun has always been dedicated to enabling others to
6453 re-create and fix their products on their own, the more recent focus on
6454 introducing young people to technology is a natural extension of their core
6455 business.
6456     </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next generation of
6457 technical citizens,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Our goal is to affect the
6458 lives of three hundred and fifty thousand high school students by
6459 2020.</span>”</span>
6460     </p><p>
6461       The Creative Commons license underlying all of SparkFun’s products is
6462 central to this mission. The license not only signals a willingness to
6463 share, but it also expresses a desire for others to get in and tinker with
6464 their products, both to learn and to make their products better. SparkFun
6465 uses the Attribution-ShareAlike license (CC BY-SA), which is a
6466 <span class="quote">“<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
6467 content as long as they provide credit and make any adaptations available
6468 under the same licensing terms.
6469     </p><p>
6470       From the beginning, Nathan has tried to create a work environment at
6471 SparkFun that he himself would want to work in. The result is what appears
6472 to be a pretty fun workplace. The U.S. company is based in Boulder,
6473 Colorado. They have an eighty-thousand-square-foot facility (approximately
6474 seventy-four-hundred square meters), where they design and manufacture their
6475 products. They offer public tours of the space several times a week, and
6476 they open their doors to the public for a competition once a year.
6477     </p><p>
6478       The public event, called the Autonomous Vehicle Competition, brings in a
6479 thousand to two thousand customers and other technology enthusiasts from
6480 around the area to race their own self-created bots against each other,
6481 participate in training workshops, and socialize. From a business
6482 perspective, Nathan says it’s a terrible idea. But they don’t hold the event
6483 for business reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel
6484 and have interactions with our customers all the time, but most of our
6485 employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our employees the
6486 opportunity to get face-to-face contact with our customers.</span>”</span> The
6487 event infuses their work with a human element, which makes it more
6488 meaningful.
6489     </p><p>
6490       Nathan has worked hard to imbue a deeper meaning into the work SparkFun
6491 does. The company is, of course, focused on being fiscally responsible, but
6492 they are ultimately driven by something other than money. <span class="quote">“<span class="quote">Profit is
6493 not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
6494 said. <span class="quote">“<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
6495 believes they get some of the brightest and most amazing employees because
6496 they aren’t singularly focused on the bottom line.
6497     </p><p>
6498       The company is committed to transparency and shares all of its financials
6499 with its employees. They also generally strive to avoid being another
6500 soulless corporation. They actively try to reveal the humans behind the
6501 company, and they work to ensure people coming to their site don’t find only
6502 unchanging content.
6503     </p><p>
6504       SparkFun’s customer base is largely made up of industrious electronics
6505 enthusiasts. They have customers who are regularly involved in the company’s
6506 customer support, independently responding to questions in forums and
6507 product-comment sections.  Customers also bring product ideas to the
6508 company. SparkFun regularly sifts through suggestions from customers and
6509 tries to build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
6510 been listening to the community,</span>”</span> Nathan said.  <span class="quote">“<span class="quote">Customers
6511 would identify a pain point, and we would design something to address
6512 it.</span>”</span>
6513     </p><p>
6514       However, this sort of customer engagement does not always translate to
6515 people actively contributing to SparkFun’s projects.  The company has a
6516 public repository of software code for each of its devices online. On a
6517 particularly active project, there will only be about two dozen people
6518 contributing significant improvements. The vast majority of projects are
6519 relatively untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
6520 open-source it, they will come,</span>”</span> Nathan said. <span class="quote">“<span class="quote">That’s not
6521 really true.</span>”</span>
6522     </p><p>
6523       Rather than focusing on cocreation with their customers, SparkFun instead
6524 focuses on enabling people to copy, tinker, and improve products on their
6525 own. They heavily invest in tutorials and other material designed to help
6526 people understand how the products work so they can fix and improve things
6527 independently. <span class="quote">“<span class="quote">What gives me joy is when people take open-source
6528 layouts and then build their own circuit boards from our designs,</span>”</span>
6529 Nathan said.
6530     </p><p>
6531       Obviously, opening up the design of their products is a necessary step if
6532 their goal is to empower the public. Nathan also firmly believes it makes
6533 them more money because it requires them to focus on how to provide maximum
6534 value. Rather than designing a new product and protecting it in order to
6535 extract as much money as possible from it, they release the keys necessary
6536 for others to build it themselves and then spend company time and resources
6537 on innovation and service. From a short-term perspective, SparkFun may lose
6538 a few dollars when others copy their products. But in the long run, it makes
6539 them a more nimble, innovative business. In other words, it makes them the
6540 kind of company they set out to be.
6541     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Capítulo 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6542         TeachAIDS is a nonprofit that creates educational materials designed to
6543 teach people around the world about HIV and AIDS.  Founded in 2005 in the
6544 U.S.
6545       </p><p>
6546           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
6547         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
6548       </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
6549       </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
6550 Shuman Ghosemajumder, the chair
6551       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6552     \textit{
6553         Profile written by Sarah Hinchliff Pearson
6554       }
6555     \end{flushright}</td></tr></table></div><p>
6556       TeachAIDS is an unconventional media company with a conventional revenue
6557 model. Like most media companies, they are subsidized by
6558 advertising. Corporations pay to have their logos appear on the educational
6559 materials TeachAIDS distributes.
6560     </p><p>
6561       But unlike most media companies, Teach-AIDS is a nonprofit organization with
6562 a purely social mission. TeachAIDS is dedicated to educating the global
6563 population about HIV and AIDS, particularly in parts of the world where
6564 education efforts have been historically unsuccessful. Their educational
6565 content is conveyed through interactive software, using methods based on the
6566 latest research about how people learn. TeachAIDS serves content in more
6567 than eighty countries around the world. In each instance, the content is
6568 translated to the local language and adjusted to conform to local norms and
6569 customs. All content is free and made available under a Creative Commons
6570 license.
6571     </p><p>
6572       TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
6573 salary of one dollar per year from the nonprofit. The project grew out of
6574 research she was doing while pursuing her doctorate at Stanford
6575 University. She was reading reports about India, noting it would be the next
6576 hot zone of people living with HIV. Despite international and national
6577 entities pouring in hundreds of millions of dollars on HIV-prevention
6578 efforts, the reports showed knowledge levels were still low. People were
6579 unaware of whether the virus could be transmitted through coughing and
6580 sneezing, for instance. Supported by an interdisciplinary team of experts at
6581 Stanford, Piya conducted similar studies, which corroborated the previous
6582 research. They found that the primary cause of the limited understanding was
6583 that HIV, and issues relating to it, were often considered too taboo to
6584 discuss comprehensively. The other major problem was that most of the
6585 education on this topic was being taught through television advertising,
6586 billboards, and other mass-media campaigns, which meant people were only
6587 receiving bits and pieces of information.
6588     </p><p>
6589       In late 2005, Piya and her team used research-based design to create new
6590 educational materials and worked with local partners in India to help
6591 distribute them. As soon as the animated software was posted online, Piya’s
6592 team started receiving requests from individuals and governments who were
6593 interested in bringing this model to more countries. <span class="quote">“<span class="quote">We realized
6594 fairly quickly that educating large populations about a topic that was
6595 considered taboo would be challenging. We began by identifying optimal local
6596 partners and worked toward creating an effective, culturally appropriate
6597 education,</span>”</span> Piya said.
6598     </p><p>
6599       Very shortly after the initial release, Piya’s team decided to spin the
6600 endeavor into an independent nonprofit out of Stanford University. They also
6601 decided to use Creative Commons licenses on the materials.
6602     </p><p>
6603       Given their educational mission, TeachAIDS had an obvious interest in seeing
6604 the materials as widely shared as possible. But they also needed to preserve
6605 the integrity of the medical information in the content. They chose the
6606 Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
6607 gives the public the right to distribute only verbatim copies of the
6608 content, and for noncommercial purposes. <span class="quote">“<span class="quote">We wanted attribution for
6609 TeachAIDS, and we couldn’t stand by derivatives without vetting
6610 them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said.  <span class="quote">“<span class="quote">It
6611 was almost a no-brainer to go with a CC license because it was a
6612 plug-and-play solution to this exact problem. It has allowed us to scale our
6613 materials safely and quickly worldwide while preserving our content and
6614 protecting us at the same time.</span>”</span>
6615     </p><p>
6616       Choosing a license that does not allow adaptation of the content was an
6617 outgrowth of the careful precision with which TeachAIDS crafts their
6618 content. The organization invests heavily in research and testing to
6619 determine the best method of conveying the information. <span class="quote">“<span class="quote">Creating
6620 high-quality content is what matters most to us,</span>”</span> Piya
6621 said. <span class="quote">“<span class="quote">Research drives everything we do.</span>”</span>
6622     </p><p>
6623       One important finding was that people accept the message best when it comes
6624 from familiar voices they trust and admire. To achieve this, TeachAIDS
6625 researches cultural icons that would best resonate with their target
6626 audiences and recruits them to donate their likenesses and voices for use in
6627 the animated software. The celebrities involved vary for each localized
6628 version of the materials.
6629     </p><p>
6630       Localization is probably the single-most important aspect of the way
6631 TeachAIDS creates its content. While each regional version builds from the
6632 same core scientific materials, they pour a lot of resources into
6633 customizing the content for a particular population. Because they use a CC
6634 license that does not allow the public to adapt the content, TeachAIDS
6635 retains careful control over the localization process. The content is
6636 translated into the local language, but there are also changes in substance
6637 and format to reflect cultural differences. This process results in minor
6638 changes, like choosing different idioms based on the local language, and
6639 significant changes, like creating gendered versions for places where people
6640 are more likely to accept information from someone of the same gender.
6641     </p><p>
6642       The localization process relies heavily on volunteers. Their volunteer base
6643 is deeply committed to the cause, and the organization has had better luck
6644 controlling the quality of the materials when they tap volunteers instead of
6645 using paid translators. For quality control, TeachAIDS has three separate
6646 volunteer teams translate the materials from English to the local language
6647 and customize the content based on local customs and norms. Those three
6648 versions are then analyzed and combined into a single master
6649 translation. TeachAIDS has additional teams of volunteers then translate
6650 that version back into English to see how well it lines up with the original
6651 materials. They repeat this process until they reach a translated version
6652 that meets their standards. For the Tibetan version, they went through this
6653 cycle eleven times.
6654     </p><p>
6655       TeachAIDS employs full-time employees, contractors, and volunteers, all in
6656 different capacities and organizational configurations. They are careful to
6657 use people from diverse backgrounds to create the materials, including
6658 teachers, students, and doctors, as well as individuals experienced in
6659 working in the NGO space. This diversity and breadth of knowledge help
6660 ensure their materials resonate with people from all walks of life.
6661 Additionally, TeachAIDS works closely with film writers and directors to
6662 help keep the concepts entertaining and easy to understand. The inclusive,
6663 but highly controlled, creative process is undertaken entirely by people who
6664 are specifically brought on to help with a particular project, rather than
6665 ongoing staff. The final product they create is designed to require zero
6666 training for people to implement in practice. <span class="quote">“<span class="quote">In our research, we
6667 found we can’t depend on people passing on the information correctly, even
6668 if they have the best of intentions,</span>”</span> Piya said.  <span class="quote">“<span class="quote">We need
6669 materials where you can push play and they will work.</span>”</span>
6670     </p><p>
6671       Piya’s team was able to produce all of these versions over several years
6672 with a head count that never exceeded eight full-time employees. The
6673 organization is able to reduce costs by relying heavily on volunteers and
6674 in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
6675 model to subsidize content creation and physical distribution of the
6676 materials. Charging even a low price was simply not an
6677 option. <span class="quote">“<span class="quote">Educators from various nonprofits around the world were just
6678 creating their own materials using whatever they could find for free
6679 online,</span>”</span> Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our
6680 highly effective model was to make it completely free.</span>”</span>
6681     </p><p>
6682       Like many content creators offering their work for free, they settled on
6683 advertising as a funding model. But they were extremely careful not to let
6684 the advertising compromise their credibility or undermine the heavy
6685 investment they put into creating quality content. Sponsors of the content
6686 have no ability to influence the substance of the content, and they cannot
6687 even create advertising content. Sponsors only get the right to have their
6688 logo appear before and after the educational content. All of the content
6689 remains branded as TeachAIDS.
6690     </p><p>
6691       TeachAIDS is careful not to seek funding to cover the costs of a specific
6692 project. Instead, sponsorships are structured as unrestricted donations to
6693 the nonprofit. This gives the nonprofit more stability, but even more
6694 importantly, it enables them to subsidize projects being localized for an
6695 area with no sponsors.  <span class="quote">“<span class="quote">If we just created versions based on where we
6696 could get sponsorships, we would only have materials for wealthier
6697 countries,</span>”</span> Shuman said.
6698     </p><p>
6699       As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go into a new
6700 country, various companies hear about us and reach out to us,</span>”</span> Piya
6701 said. <span class="quote">“<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
6702 believe the sponsorships are easy to sell because they offer so much value
6703 to sponsors. TeachAIDS sponsorships give corporations the chance to reach
6704 new eyeballs with their brand, but at a much lower cost than other
6705 advertising channels. The audience for TeachAIDS content also tends to skew
6706 young, which is often a desirable demographic for brands. Unlike traditional
6707 advertising, the content is not time-sensitive, so an investment in a
6708 sponsorship can benefit a brand for many years to come.
6709     </p><p>
6710       Importantly, the value to corporate sponsors goes beyond commercial
6711 considerations. As a nonprofit with a clearly articulated social mission,
6712 corporate sponsorships are donations to a cause. <span class="quote">“<span class="quote">This is something
6713 companies can be proud of internally,</span>”</span> Shuman said. Some companies
6714 have even built publicity campaigns around the fact that they have sponsored
6715 these initiatives.
6716     </p><p>
6717       The core mission of TeachAIDS—ensuring global access to life-saving
6718 education—is at the root of everything the organization does. It underpins
6719 the work; it motivates the funders. The CC license on the materials they
6720 create furthers that mission, allowing them to safely and quickly scale
6721 their materials worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a
6722 game changer for TeachAIDS,</span>”</span> Piya said.
6723     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Capítulo 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6724         Tribe of Noise is a for-profit online music platform serving the film, TV,
6725 video, gaming, and in-store-media industries. Founded in 2008 in the
6726 Netherlands.
6727       </p><p>
6728           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
6729         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
6730       </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
6731       </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
6732 cofounder
6733       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6734     \textit{
6735         Profile written by Paul Stacey
6736       }
6737     \end{flushright}</td></tr></table></div><p>
6738       In the early 2000s, Hessel van Oorschot was an entrepreneur running a
6739 business where he coached other midsize entrepreneurs how to create an
6740 online business. He also coauthored a number of workbooks for small- to
6741 medium-size enterprises to use to optimize their business for the
6742 Web. Through this early work, Hessel became familiar with the principles of
6743 open licensing, including the use of open-source software and Creative
6744 Commons.
6745     </p><p>
6746       In 2005, Hessel and Sandra Brandenburg launched a niche video-production
6747 initiative. Almost immediately, they ran into issues around finding and
6748 licensing music tracks. All they could find was standard, cold
6749 stock-music. They thought of looking up websites where you could license
6750 music directly from the musician without going through record labels or
6751 agents. But in 2005, the ability to directly license music from a rights
6752 holder was not readily available.
6753     </p><p>
6754       They hired two lawyers to investigate further, and while they uncovered five
6755 or six examples, Hessel found the business models lacking. The lawyers
6756 expressed interest in being their legal team should they decide to pursue
6757 this as an entrepreneurial opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are
6758 interested in a venture like this, you might have something special.</span>”</span>
6759 So after some more research, in early 2008, Hessel and Sandra decided to
6760 build a platform.
6761     </p><p>
6762       Building a platform posed a real chicken-and-egg problem. The platform had
6763 to build an online community of music-rights holders and, at the same time,
6764 provide the community with information and ideas about how the new economy
6765 works. Community willingness to try new music business models requires a
6766 trust relationship.
6767     </p><p>
6768       In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
6769 musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
6770 limited part of their repertoire.  The two entrepreneurs wanted to take the
6771 pain away for media makers who wanted to license music and solve the
6772 problems the two had personally experienced finding this music.
6773     </p><p>
6774       As they were growing the community, Hessel got a phone call from a company
6775 that made in-store music playlists asking if they had enough music licensed
6776 with Creative Commons that they could use.  Stores need quality,
6777 good-listening music but not necessarily hits, a bit like a radio show
6778 without the DJ. This opened a new opportunity for Tribe of Noise. They
6779 started their In-store Music Service, using music (licensed with CC BY-SA)
6780 uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2126" class="footnote" name="idm2126"><sup class="footnote">[152]</sup></a>
6781     </p><p>
6782       In most countries, artists, authors, and musicians join a collecting society
6783 that manages the licensing and helps collect the royalties. Copyright
6784 collecting societies in the European Union usually hold monopolies in their
6785 respective national markets. In addition, they require their members to
6786 transfer exclusive administration rights to them of all of their works.
6787 This complicates the picture for Tribe of Noise, who wants to represent
6788 artists, or at least a portion of their repertoire.  Hessel and his legal
6789 team reached out to collecting societies, starting with those in the
6790 Netherlands. What would be the best legal way forward that would respect the
6791 wishes of composers and musicians who’d be interested in trying out new
6792 models like the In-store Music Service? Collecting societies at first were
6793 hesitant and said no, but Tribe of Noise persisted arguing that they
6794 primarily work with unknown artists and provide them exposure in parts of
6795 the world where they don’t get airtime normally and a source of revenue—and
6796 this convinced them that it was OK. However, Hessel says, <span class="quote">“<span class="quote">We are
6797 still fighting for a good cause every single day.</span>”</span>
6798     </p><p>
6799       Instead of building a large sales force, Tribe of Noise partnered with big
6800 organizations who have lots of clients and can act as a kind of Tribe of
6801 Noise reseller. The largest telecom network in the Netherlands, for example,
6802 sells Tribe’s In-store Music Service subscriptions to their business
6803 clients, which include fashion retailers and fitness centers. They have a
6804 similar deal with the leading trade association representing hotels and
6805 restaurants in the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span>
6806 this service into other countries where collecting societies understand what
6807 you can do with Creative Commons. Outside of the Netherlands, early
6808 adoptions have happened in Scandinavia, Belgium, and the U.S.
6809     </p><p>
6810       Tribe of Noise doesn’t pay the musicians up front; they get paid when their
6811 music ends up in Tribe of Noise’s in-store music channels. The musicians’
6812 share is 42.5 percent. It’s not uncommon in a traditional model for the
6813 artist to get only 5 to 10 percent, so a share of over 40 percent is a
6814 significantly better deal.  Here’s how they give an example on their
6815 website:
6816     </p><p>
6817       A few of your songs [licensed with CC BY-SA], for example five in total, are
6818 selected for a bespoke in-store music channel broadcasting at a large
6819 retailer with 1,000 stores nationwide. In this case the overall playlist
6820 contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
6821 agreed with this retailer is US$12 per month per play-out. So if 42.5% is
6822 shared with the Tribe musicians in this playlist and your share is 1.43%,
6823 you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
6824 month.<a href="#ftn.idm2135" class="footnote" name="idm2135"><sup class="footnote">[153]</sup></a>
6825     </p><p>
6826       Tribe of Noise has another model that does not involve Creative Commons. In
6827 a survey with members, most said they liked the exposure using Creative
6828 Commons gets them and the way it lets them reach out to others to share and
6829 remix. However, they had a bit of a mental struggle with Creative Commons
6830 licenses being perpetual.  A lot of musicians have the mind-set that one day
6831 one of their songs may become an overnight hit. If that happened the CC
6832 BY-SA license would preclude them getting rich off the sale of that song.
6833     </p><p>
6834       Hessel’s legal team took this feedback and created a second model and
6835 separate area of the platform called Tribe of Noise Pro. Songs uploaded to
6836 Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
6837 instead created a <span class="quote">“<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
6838 to a Creative Commons license but allowing musicians to opt out whenever
6839 they want. When you opt out, Tribe of Noise agrees to take your music off
6840 the Tribe of Noise platform within one to two months. This lets the musician
6841 reuse their song for a better deal.
6842     </p><p>
6843       Tribe of Noise Pro is primarily geared toward media makers who are looking
6844 for music. If they buy a license from this catalog, they don’t have to state
6845 the name of the creator; they just license the song for a specific
6846 amount. This is a big plus for media makers.  And musicians can pull their
6847 repertoire at any time. Hessel sees this as a more direct and clean deal.
6848     </p><p>
6849       Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
6850 the community area of Tribe of Noises. There aren’t that many artists who
6851 upload only to Tribe of Noise Pro, which has a smaller repertoire of music
6852 than the community area.
6853     </p><p>
6854       Hessel sees the two as complementary. Both are needed for the model to
6855 work. With a whole generation of musicians interested in the sharing
6856 economy, the community area of Tribe of Noise is where they can build trust,
6857 create exposure, and generate money. And after that, musicians may become
6858 more interested in exploring other models like Tribe of Noise Pro.
6859     </p><p>
6860       Every musician who joins Tribe of Noise gets their own home page and free
6861 unlimited Web space to upload as much of their own music as they like. Tribe
6862 of Noise is also a social network; fellow musicians and professionals can
6863 vote for, comment on, and like your music. Community managers interact with
6864 and support members, and music supervisors pick and choose from the uploaded
6865 songs for in-store play or to promote them to media producers. Members
6866 really like having people working for the platform who truly engage with
6867 them.
6868     </p><p>
6869       Another way Tribe of Noise creates community and interest is with contests,
6870 which are organized in partnership with Tribe of Noise clients. The client
6871 specifies what they want, and any member can submit a song. Contests usually
6872 involve prizes, exposure, and money. In addition to building member
6873 engagement, contests help members learn how to work with clients: listening
6874 to them, understanding what they want, and creating a song to meet that
6875 need.
6876     </p><p>
6877       Tribe of Noise now has twenty-seven thousand members from 192 countries, and
6878 many are exploring do-it-yourself models for generating revenue. Some came
6879 from music labels and publishers, having gone through the traditional way of
6880 music licensing and now seeing if this new model makes sense for
6881 them. Others are young musicians, who grew up with a DIY mentality and see
6882 little reason to sign with a third party or hand over some of the
6883 control. Still a small but growing group of Tribe members are pursuing a
6884 hybrid model by licensing some of their songs under CC BY-SA and opting in
6885 others with collecting societies like ASCAP or BMI.
6886     </p><p>
6887       It’s not uncommon for performance-rights organizations, record labels, or
6888 music publishers to sign contracts with musicians based on exclusivity. Such
6889 an arrangement prevents those musicians from uploading their music to Tribe
6890 of Noise. In the United States, you can have a collecting society handle
6891 only some of your tracks, whereas in many countries in Europe, a collecting
6892 society prefers to represent your entire repertoire (although the European
6893 Commission is making some changes). Tribe of Noise deals with this issue all
6894 the time and gives you a warning whenever you upload a song. If collecting
6895 societies are willing to be open and flexible and do the most they can for
6896 their members, then they can consider organizations like Tribe of Noise as a
6897 nice add-on, generating more exposure and revenue for the musicians they
6898 represent. So far, Tribe of Noise has been able to make all this work
6899 without litigation.
6900     </p><p>
6901       For Hessel the key to Tribe of Noise’s success is trust. The fact that
6902 Creative Commons licenses work the same way all over the world and have been
6903 translated into all languages really helps build that trust. Tribe of Noise
6904 believes in creating a model where they work together with musicians. They
6905 can only do that if they have a live and kicking community, with people who
6906 think that the Tribe of Noise team has their best interests in
6907 mind. Creative Commons makes it possible to create a new business model for
6908 music, a model that’s based on trust.
6909     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2126" class="footnote"><p><a href="#idm2126" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2135" class="footnote"><p><a href="#idm2135" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Capítulo 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6910         The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
6911 and its sister projects. Founded in 2003 in the U.S.
6912       </p><p>
6913           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
6914         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
6915       </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
6916       </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
6917 Officer of Community Engagement, and Stephen LaPorte, legal counsel
6918       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6919     \textit{
6920         Profile written by Sarah Hinchliff Pearson
6921       }
6922     \end{flushright}</td></tr></table></div><p>
6923       Nearly every person with an online presence knows Wikipedia.
6924     </p><p>
6925       In many ways, it is the preeminent open project: The online encyclopedia is
6926 created entirely by volunteers. Anyone in the world can edit the
6927 articles. All of the content is available for free to anyone online. All of
6928 the content is released under a Creative Commons license that enables people
6929 to reuse and adapt it for any purpose.
6930     </p><p>
6931       As of December 2016, there were more than forty-two million articles in the
6932 295 language editions of the online encyclopedia, according to—what
6933 else?—the Wikipedia article about Wikipedia.
6934     </p><p>
6935       The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
6936 the Wikipedia domain name and hosts the site, along with many other related
6937 sites like Wikidata and Wikimedia Commons. The foundation employs about two
6938 hundred and eighty people, who all work to support the projects it
6939 hosts. But the true heart of Wikipedia and its sister projects is its
6940 community. The numbers of people in the community are variable, but about
6941 seventy-five thousand volunteers edit and improve Wikipedia articles every
6942 month. Volunteers are organized in a variety of ways across the globe,
6943 including formal Wikimedia chapters (mostly national), groups focused on a
6944 particular theme, user groups, and many thousands who are not connected to a
6945 particular organization.
6946     </p><p>
6947       As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There is a common
6948 saying that Wikipedia works in practice but not in theory.</span>”</span> While it
6949 undoubtedly has its challenges and flaws, Wikipedia and its sister projects
6950 are a striking testament to the power of human collaboration.
6951     </p><p>
6952       Because of its extraordinary breadth and scope, it does feel a bit like a
6953 unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what
6954 makes the projects successful—community, transparency, a strong mission,
6955 trust—are consistent with what it takes to be successfully Made with
6956 Creative Commons more generally. With Wikipedia, everything just happens at
6957 an unprecedented scale.
6958     </p><p>
6959       The story of Wikipedia has been told many times. For our purposes, it is
6960 enough to know the experiment started in 2001 at a small scale, inspired by
6961 the crazy notion that perhaps a truly open, collaborative project could
6962 create something meaningful. At this point, Wikipedia is so ubiquitous and
6963 ingrained in our digital lives that the fact of its existence seems less
6964 remarkable. But outside of software, Wikipedia is perhaps the single most
6965 stunning example of successful community cocreation. Every day, seven
6966 thousand new articles are created on Wikipedia, and nearly fifteen thousand
6967 edits are made every hour.
6968     </p><p>
6969       The nature of the content the community creates is ideal for asynchronous
6970 cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where incremental community
6971 improvement really works,</span>”</span> Luis Villa, former Chief Officer of
6972 Community Engagement, told us. The rules and processes that govern
6973 cocreation on Wikipedia and its sister projects are all community-driven and
6974 vary by language edition. There are entire books written on the intricacies
6975 of their systems, but generally speaking, there are very few exceptions to
6976 the rule that anyone can edit any article, even without an account on their
6977 system. The extensive peer-review process includes elaborate systems to
6978 resolve disputes, methods for managing particularly controversial subject
6979 areas, talk pages explaining decisions, and much, much more. The Wikimedia
6980 Foundation’s decision to leave governance of the projects to the community
6981 is very deliberate. <span class="quote">“<span class="quote">We look at the things that the community can do
6982 well, and we want to let them do those things,</span>”</span> Stephen told
6983 us. Instead, the foundation focuses its time and resources on what the
6984 community cannot do as effectively, like the software engineering that
6985 supports the technical infrastructure of the sites. In 2015-16, about half
6986 of the foundation’s budget went to direct support for the Wikimedia sites.
6987     </p><p>
6988       Some of that is directed at servers and general IT support, but the
6989 foundation also invests a significant amount on architecture designed to
6990 help the site function as effectively as possible.  <span class="quote">“<span class="quote">There is a
6991 constantly evolving system to keep the balance in place to avoid Wikipedia
6992 becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
6993 how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
6994 are positive. Some portion of that success is attributable to the tools
6995 Wikimedia has in place to try to incentivize good actors.  <span class="quote">“<span class="quote">The secret
6996 to having any healthy community is bringing back the right people,</span>”</span>
6997 Luis said. <span class="quote">“<span class="quote">Vandals tend to get bored and go away. That is partially
6998 our model working, and partially just human nature.</span>”</span> Most of the
6999 time, people want to do the right thing.
7000     </p><p>
7001       Wikipedia not only relies on good behavior within its community and on its
7002 sites, but also by everyone else once the content leaves Wikipedia. All of
7003 the text of Wikipedia is available under an Attribution-ShareAlike license
7004 (CC BY-SA), which means it can be used for any purpose and modified so long
7005 as credit is given and anything new is shared back with the public under the
7006 same license. In theory, that means anyone can copy the content and start a
7007 new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open has only made
7008 Wikipedia bigger and stronger. The desire to protect is not always what is
7009 best for everyone.</span>”</span>
7010     </p><p>
7011       Of course, the primary reason no one has successfully co-opted Wikipedia is
7012 that copycat efforts do not have the Wikipedia community to sustain what
7013 they do. Wikipedia is not simply a source of up-to-the-minute content on
7014 every given topic—it is also a global patchwork of humans working together
7015 in a million different ways, in a million different capacities, for a
7016 million different reasons. While many have tried to guess what makes
7017 Wikipedia work as well it does, the fact is there is no single
7018 explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an incredible
7019 diversity of motivations,</span>”</span> Stephen said. For example, there is one
7020 editor of the English Wikipedia edition who has corrected a single
7021 grammatical error in articles more than forty-eight thousand
7022 times.<a href="#ftn.idm2181" class="footnote" name="idm2181"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
7023 users are also editors.  But editing is not the only way to contribute to
7024 Wikipedia.  <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
7025 financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
7026 contributors.</span>”</span>
7027     </p><p>
7028       But the vast majority of us who use Wikipedia are not contributors; we are
7029 passive readers. The Wikimedia Foundation survives primarily on individual
7030 donations, with about $15 as the average. Because Wikipedia is one of the
7031 ten most popular websites in terms of total page views, donations from a
7032 small portion of that audience can translate into a lot of money. In the
7033 2015-16 fiscal year, they received more than $77 million from more than five
7034 million donors.
7035     </p><p>
7036       The foundation has a fund-raising team that works year-round to raise money,
7037 but the bulk of their revenue comes in during the December campaign in
7038 Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
7039 States. They engage in extensive user testing and research to maximize the
7040 reach of their fund-raising campaigns. Their basic fund-raising message is
7041 simple: We provide our readers and the world immense value, so give
7042 back. Every little bit helps. With enough eyeballs, they are right.
7043     </p><p>
7044       The vision of the Wikimedia Foundation is a world in which every single
7045 human being can freely share in the sum of all knowledge.  They work to
7046 realize this vision by empowering people around the globe to create
7047 educational content made freely available under an open license or in the
7048 public domain. Stephen and Luis said the mission, which is rooted in the
7049 same philosophy behind Creative Commons, drives everything the foundation
7050 does.
7051     </p><p>
7052       The philosophy behind the endeavor also enables the foundation to be
7053 financially sustainable. It instills trust in their readership, which is
7054 critical for a revenue strategy that relies on reader donations. It also
7055 instills trust in their community.
7056     </p><p>
7057       Any given edit on Wikipedia could be motivated by nearly an infinite number
7058 of reasons. But the social mission of the project is what binds the global
7059 community together. <span class="quote">“<span class="quote">Wikipedia is an example of how a mission can
7060 motivate an entire movement,</span>”</span> Stephen told us.
7061     </p><p>
7062       Of course, what results from that movement is one of the Internet’s great
7063 public resources. <span class="quote">“<span class="quote">The Internet has a lot of businesses and stores,
7064 but it is missing the digital equivalent of parks and open public
7065 spaces,</span>”</span> Stephen said.  <span class="quote">“<span class="quote">Wikipedia has found a way to be that
7066 open public space.</span>”</span>
7067     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2181" class="footnote"><p><a href="#idm2181" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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7131 Natural Commons for the Knowledge Commons.</span>”</span> Chap. 2 in Frischmann,
7132 Madison, and Strandburg, Governing Knowledge Commons.
7133   </p><p>
7134     Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative
7135 Commons, 2015.  <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
7136   </p><p>
7137     Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
7138 Age. San Francisco: McSweeney’s, 2014.
7139   </p><p>
7140     Eckhardt, Giana, and Fleura Bardhi. <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
7141 Sharing at All.</span>”</span> Harvard Business Review, January 28, 2015.  <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
7142   </p><p>
7143     Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge:
7144 Confronting the Commodification of Human Discovery.  Regina, SK: University
7145 of Regina Press, 2015.  <a class="ulink" href="http://uofrpress.ca/publications/Free-Knowledge" target="_top">http://uofrpress.ca/publications/Free-Knowledge</a> (licensed under CC
7146 BY-NC-ND).
7147   </p><p>
7148     Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
7149 Hoover. New York: Portfolio, 2014.
7150   </p><p>
7151     Farley, Joshua, and Ida Kubiszewski. <span class="quote">“<span class="quote">The Economics of Information in
7152 a Post-Carbon Economy.</span>”</span> Chap. 11 in Elliott and Hepting, Free
7153 Knowledge.
7154   </p><p>
7155     Foster, William Landes, Peter Kim, and Barbara Christiansen.  <span class="quote">“<span class="quote">Ten
7156 Nonprofit Funding Models.</span>”</span> Stanford Social Innovation Review, Spring
7157 2009.  <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
7158   </p><p>
7159     Frischmann, Brett M. Infrastructure: The Social Value of Shared
7160 Resources. New York: Oxford University Press, 2012.
7161   </p><p>
7162     Frischmann, Brett M., Michael J. Madison, and Katherine J.  Strandburg,
7163 eds. Governing Knowledge Commons. New York: Oxford University Press, 2014.
7164   </p><p>
7165     Frischmann, Brett M., Michael J. Madison, and Katherine J.
7166 Strandburg. <span class="quote">“<span class="quote">Governing Knowledge Commons.</span>”</span> Chap. 1 in
7167 Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
7168   </p><p>
7169     Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing.  Reprint with
7170 new epilogue. New York: Portfolio, 2012.
7171   </p><p>
7172     Grant, Adam. Give and Take: Why Helping Others Drives Our Success.  New
7173 York: Viking, 2013.
7174   </p><p>
7175     Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity
7176 and the Commons. New York: Zed Books, 2014.
7177   </p><p>
7178     Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the
7179 Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012.
7180   </p><p>
7181     Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto:
7182 Doubleday Canada, 2014.
7183   </p><p>
7184     Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
7185 Farrar, Straus and Giroux, 2010.
7186   </p><p>
7187     ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
7188 Books edition. New York: Vintage Books, 2007.
7189   </p><p>
7190     Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
7191 within Us All. New York: Crown, 2013.
7192   </p><p>
7193     Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
7194 Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012.
7195   </p><p>
7196     Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
7197 Discovered. New York: Workman, 2014.
7198   </p><p>
7199     ———. Steal Like an Artist: 10 Things Nobody Told You about Being
7200 Creative. New York: Workman, 2012.
7201   </p><p>
7202     Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
7203 York: Morgan James, 2016.
7204   </p><p>
7205     Lee, David. <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
7206 Internet.</span>”</span> BBC News, March 3, 2016.  <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
7207   </p><p>
7208     Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
7209 Economy. New York: Penguin Press, 2008.
7210   </p><p>
7211     Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and
7212 Manifesto. Gabriola Island, BC: New Society, 2014.
7213   </p><p>
7214     Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus
7215 and Giroux, 2015.
7216   </p><p>
7217     New York Times Customer Insight Group. The Psychology of Sharing: Why Do
7218 People Share Online? New York: New York Times Customer Insight Group, 2011.
7219 <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
7220   </p><p>
7221     Osterwalder, Alex, and Yves Pigneur. Business Model Generation.  Hoboken,
7222 NJ: John Wiley and Sons, 2010. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
7223   </p><p>
7224     Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value
7225 Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the
7226 book is available at <a class="ulink" href="http://strategyzer.com/books/value-proposition-design" target="_top">http://strategyzer.com/books/value-proposition-design</a>.
7227   </p><p>
7228     Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let
7229 People Help. New York: Grand Central, 2014.
7230   </p><p>
7231     Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
7232 Available Their Highest Quality Material without Restrictions, and What Are
7233 the Results? The Hague, Netherlands: Europeana Foundation, 2014.  <a class="ulink" href="http://pro.europeana.eu/publication/democratising-the-rijksmuseum" target="_top">http://pro.europeana.eu/publication/democratising-the-rijksmuseum</a>
7234 (licensed under CC BY-SA).
7235   </p><p>
7236     Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne,
7237 Australia: Commons Transition Coalition, 2016.  <a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
7238 (licensed under CC BY-NC-ND).
7239   </p><p>
7240     Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
7241 Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
7242 Media, 2001. See esp. <span class="quote">“<span class="quote">The Magic Cauldron.</span>”</span> <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
7243   </p><p>
7244     Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
7245 Innovation to Create Radically Successful Businesses. New York: Crown
7246 Business, 2011.
7247   </p><p>
7248     Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the
7249 Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave
7250 Macmillan, 2014.
7251   </p><p>
7252     Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
7253   </p><p>
7254     Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
7255 Enemy of Prosperity. New York: Portfolio, 2016.
7256   </p><p>
7257     Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
7258 York: Farrar, Straus and Giroux, 2012.
7259   </p><p>
7260     Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
7261 Collaborators. London, England: Penguin Books, 2010.
7262   </p><p>
7263     Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
7264 Books, 2015.
7265   </p><p>
7266     Stephany, Alex. The Business of Sharing: Making in the New Sharing
7267 Economy. New York: Palgrave Macmillan, 2015.
7268   </p><p>
7269     Stepper, John. Working Out Loud: For a Better Career and Life. New York:
7270 Ikigai Press, 2015.
7271   </p><p>
7272     Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a
7273 Complex World. Boston: Houghton Mifflin Harcourt, 2015.
7274   </p><p>
7275     Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise
7276 of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
7277   </p><p>
7278     Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005.
7279   </p><p>
7280     Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology
7281 Behind Bitcoin Is Changing Money, Business, and the World. Toronto:
7282 Portfolio, 2016.
7283   </p><p>
7284     Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark
7285 Reiter. New York: Simon and Schuster, 2006.
7286   </p><p>
7287     Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
7288 University of Chicago Press, 2015.
7289   </p><p>
7290     Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds.  Open
7291 Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers,
7292 with Creative Commons Netherlands; Premsela, the Netherlands Institute for
7293 Design and Fashion; and the Waag Society, 2011. <a class="ulink" href="http://opendesignnow.org" target="_top">http://opendesignnow.org</a> (licensed under CC BY-NC-SA).
7294   </p><p>
7295     Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society
7296 3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.  <a class="ulink" href="http://society30.com/get-the-book/" target="_top">http://society30.com/get-the-book/</a> (licensed under CC BY-NC-ND).
7297   </p><p>
7298     Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.  <a class="ulink" href="http://web.mit.edu/evhippel/www/democ1.htm" target="_top">http://web.mit.edu/evhippel/www/democ1.htm</a> (licensed under CC
7299 BY-NC-ND).
7300   </p><p>
7301     Whitehurst, Jim. The Open Organization: Igniting Passion and
7302 Performance. Boston: Harvard Business Review Press, 2015.
7303   </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
7304     We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
7305 Commons Board, and all of our Creative Commons colleagues for
7306 enthusiastically supporting our work. Special gratitude to the William and
7307 Flora Hewlett Foundation for the initial seed funding that got us started on
7308 this project.
7309   </p><p>
7310     Huge appreciation to all the Made with Creative Commons interviewees for
7311 sharing their stories with us. You make the commons come alive.  Thanks for
7312 the inspiration.
7313   </p><p>
7314     We interviewed more than the twenty-four organizations profiled in this
7315 book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
7316 for sharing their stories with us. While not featured as case studies in
7317 this book, you all are equally interesting, and we encourage our readers to
7318 visit your sites and explore your work.
7319   </p><p>
7320     This book was made possible by the generous support of 1,687 Kickstarter
7321 backers listed below. We especially acknowledge our many Kickstarter
7322 co-editors who read early drafts of our work and provided invaluable
7323 feedback. Heartfelt thanks to all of you.
7324   </p><p>
7325     Co-editor Kickstarter backers (alphabetically by first name): Abraham
7326 Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
7327 Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
7328 Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
7329 Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
7330 Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
7331 Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
7332 Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
7333 Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
7334 Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
7335 Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
7336 Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
7337 Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
7338 Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
7339 Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
7340 Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
7341 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
7342 Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
7343 Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
7344 Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
7345 Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
7346 Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
7347 Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
7348 Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
7349 Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
7350 Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
7351 MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
7352 Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
7353 Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
7354 Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
7355 McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
7356 Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
7357 Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
7358 Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
7359 Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
7360 Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
7361 Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
7362 Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
7363 Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
7364 Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
7365 Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
7366 Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
7367 William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
7368 Yancey Strickler
7369   </p><p>
7370     All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron
7371 C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
7372 Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
7373 Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
7374 Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
7375 Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
7376 O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
7377 Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
7378 Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
7379 Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
7380 Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
7381 Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison
7382 Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
7383 Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
7384 Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
7385 Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
7386 Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
7387 Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
7388 Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
7389 Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
7390 Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
7391 Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
7392 Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
7393 Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
7394 publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz,
7395 Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
7396 Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
7397 Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
7398 Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
7399 Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
7400 Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
7401 Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
7402 Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
7403 Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
7404 Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
7405 Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
7406 Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
7407 Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
7408 Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
7409 Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
7410 Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
7411 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
7412 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
7413 Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
7414 Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
7415 Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
7416 Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
7417 Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
7418 Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
7419 Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
7420 Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
7421 @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
7422 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
7423 Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
7424 Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
7425 Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
7426 (Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
7427 Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
7428 Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
7429 Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
7430 Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
7431 Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
7432 Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
7433 Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
7434 Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
7435 Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
7436 Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
7437 Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
7438 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
7439 Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
7440 Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
7441 Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
7442 Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
7443 Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
7444 Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
7445 Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
7446 Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
7447 Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
7448 Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
7449 Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
7450 David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
7451 Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
7452 Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah
7453 Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
7454 Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane
7455 K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La
7456 Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun,
7457 Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz,
7458 Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
7459 Karadjian, Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick,
7460 Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
7461 Dr. Braddlee, Drew Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C
7462 Humphries, Eamon Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo
7463 Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
7464 Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie
7465 Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli
7466 Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique
7467 Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
7468 Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
7469 Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
7470 Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
7471 Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
7472 Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
7473 Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
7474 Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
7475 Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
7476 Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
7477 Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
7478 Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
7479 Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
7480 Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
7481 Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
7482 Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
7483 Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
7484 Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
7485 Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
7486 Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
7487 Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
7488 Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
7489 Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
7490 Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
7491 Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
7492 Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
7493 Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
7494 Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
7495 Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
7496 Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
7497 Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
7498 Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
7499 Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
7500 Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
7501 Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
7502 James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
7503 Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
7504 Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
7505 Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
7506 E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
7507 Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
7508 Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
7509 De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
7510 Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
7511 Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
7512 Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
7513 Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
7514 Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
7515 O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
7516 Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
7517 Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
7518 Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
7519 Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
7520 Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
7521 Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
7522 John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
7523 John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
7524 Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
7525 Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
7526 Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
7527 Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
7528 Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
7529 Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
7530 Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
7531 Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
7532 Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
7533 Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
7534 Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
7535 Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
7536 Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
7537 Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
7538 Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main,
7539 Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie
7540 Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
7541 Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
7542 Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
7543 l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
7544 Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
7545 Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
7546 Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
7547 Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown,
7548 Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent
7549 Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
7550 Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini,
7551 leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos
7552 Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir
7553 Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa
7554 Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn
7555 Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna
7556 Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman,
7557 Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de
7558 Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
7559 Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
7560 Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
7561 Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
7562 Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
7563 Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
7564 Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
7565 Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
7566 Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
7567 Hernandez, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
7568 Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky,
7569 Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark
7570 Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark
7571 Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi,
7572 Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin
7573 Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
7574 Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
7575 Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
7576 Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
7577 Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
7578 Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
7579 Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
7580 Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
7581 Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
7582 Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
7583 Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
7584 Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
7585 Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
7586 Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
7587 Michael Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
7588 Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, Michael May,
7589 Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
7590 St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
7591 Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
7592 Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
7593 You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
7594 Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
7595 Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
7596 Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
7597 <span class="quote">“<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
7598 Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
7599 Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
7600 Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
7601 Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
7602 Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
7603 Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley,
7604 Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
7605 Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
7606 Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
7607 Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
7608 Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
7609 Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
7610 Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
7611 Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
7612 Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
7613 Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
7614 Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
7615 Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
7616 McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
7617 Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
7618 Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
7619 Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
7620 Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
7621 Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
7622 Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
7623 O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
7624 Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
7625 Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
7626 Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
7627 Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
7628 Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
7629 Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
7630 Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
7631 Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
7632 Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
7633 McCue, Richard <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
7634 Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
7635 Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
7636 ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
7637 Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
7638 Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
7639 Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
7640 R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
7641 Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
7642 Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
7643 Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
7644 Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
7645 Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
7646 Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
7647 Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
7648 Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
7649 Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
7650 Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
7651 A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
7652 Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
7653 ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
7654 Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
7655 Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
7656 VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
7657 Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
7658 Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
7659 Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
7660 Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
7661 Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
7662 Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
7663 Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
7664 Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
7665 Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
7666 Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
7667 Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
7668 Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
7669 Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
7670 Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
7671 Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
7672 Knudsen, Steven Melvin, Stig-Jørund B. Ö.  Arnesen, Stuart Drewer, Stuart
7673 Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
7674 Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
7675 Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
7676 T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
7677 Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
7678 Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
7679 Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
7680 Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
7681 Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
7682 Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
7683 Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
7684 Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
7685 Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
7686 Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
7687 Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
7688 Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
7689 Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
7690 Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
7691 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
7692 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
7693 Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
7694 Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
7695 Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
7696 Willa Köerner, William Bettridge-Radford, William Jefferson, William
7697 Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
7698 Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
7699 Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
7700 Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
7701 de Haan, ZeMarmot Open Movie
7702   </p></div></body></html>